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PFA  Librar)'  and  Film  Study  Center, 

University  of  California,  Berkeley  Art  Museum  &  Pacific  Film  Archive 

Coordinated  by  the 

Media  History  Digital 

Funded  by  an  anonyTnous  donation 
in  memor>'  of  Carolyn  Ilauer 


Digitized  by  the  Internet  Archive 

in  2009  with  funding  from 

IVIedia  History  Digital  Library 

The  T\lational   Quide   to  0\/Iotion    'Pictures 


i      Madge 





>./ ■  '^  # 

X"***  Winners  of 
»  f.OOO"-"  Contest! 

^  ^  ^  Never,  never  has 
the  freshness  of  a  Candy 
been  Guaranteed 


WHEREVER  you  buy 
Baby  Ruth  you  are 
guaranteed  a  candy  whose 
freshness   is  unmistakable 
Freshness  —  savory    with 
mingled  flavors  of  nature's  tastiest 
and    most    recently    harvested     delica 
cies.  Freshness  —  swiftly  captured  and  pro- 
tected by  the  most  modern  methods  known 
to  the  confectioners'  art. 

A  guarantee  like  this  has  never  before 
been  possible  because  no  one  candy  has 
ever  before  enjoyed  such  tremendous 
nation-wide  popularity,  nor  been  sold  in  so 

DE      IN      BILLIONS      FOR 

many  millions  every  day 

so  rapidly  as  Baby  Ruth. 

Only    such    enormous 

daily  sales  make  it  possible 

sell  such  a  dollar-a-pound 

quality  candy  for  5c,  and  to  guar- 

tee  its  absolute  freshness  everywhere. 

These  inviting  "Help  Yourself"  Baby  Ruth 

Racks  on  over  a  million  counters  are  your 

positive  assurance  of  getting  this  freshest, 

purest   and   most   delightful   candy   at   all 

times.     Always    buy    from    one    of    them. 

Treat   yourself  to   guaranteed  fresh   Baby 

Ruth  today.  5c  does  it. 

©1928,  C.C 


Photoplay  Magazine — Advektising  Seciion 

rloTT  can  I  escape 
tkis  modern  plague  of  gum  disorders  ? 


by  You 
Answers : 

by  the  Dentists 

YOU:  "This  morning  when  I 
brushed  my  teeth,  my  gums  felt 
tender  and  bled  a  little.  Do  you 
suppose  I  could  have  pyorrhea?" 

DENTISTS:  "Probably  not.  The 
chances  are  it's  nothing  more  serious 
than  a  soft  and  tender  spot  somewhere 
on  your  gums." 

YOU:    "But  ifhat  could  be  the  cause?" 

DENTISTS:  "Lack  of  exercise,  more 
than  hkely.  In  this  day  of  soft  foods 
your  gums  grow  weak  and  flabby  be- 
cause they  have  no  vigorous  chewing 
to  do." 

YOU:   "But  1  can't  change  the  household 

arrangements  about  meals. ' ' 

DENTISTS:  "No  need  to.  Simply  mas- 
sage your  gums  twice  a  day  at  the  time 
you  brush  your  teeth.  Use  your  brush 
or  your  fingsrs,  whichever  is  more 

YOU :    "  What  good  does  that  do  ? ' ' 

DENTISTS:  "It  stimulates  the  flow  of 

blood  through  the  gum  walls.  It  builds 
up  and  tones  the  tiny  cells.  It  makes 
your  gums  firm  and  healthy." 

YOU:    "Sounds  sensible." 

DENTISTS:  "It  is.  And  if  you  want  to 
get  better  results,  use  Ipana  Tooth 
Paste  for  the  massage  as  well  as  for  the 
regular  cleaning  of  your  teeth.  Brush 
both  your  gums  and  teeth  with  it,  thor- 
oughly, twice  a  day.  If  you  do  this  con- 
scientiously, you'll  see  an  improvement 
within  a  month.  Your  gums  will  be 
firmer  in  texture,  pinker  and  healthier 
in  color." 

t        t        t 

An  imaginary  dialogue,  you  say?  Yes 
—  in  form,  perhaps,  but  not  in  sub- 
stance. For  Ipana's  amazing  growth 
rests  upon  its  professional  support  — 
the  clearest  proof  that  thousands  of 
dentists  are  daily  speaking  to  their 
patients  in  the  vein  of  this  conversation. 

Ask  your  own  dentist  about 
Ipana.   Let  him  point  out  the 
benefits  of  its  marvelous  clean- 
ing power,  the  refreshing  sense 
of  health   it    brings    to    the 
whole  mouth.  And,  most  im- 
.        ^       portant,  let  him  tell  you  why 
he  sees   it  as  a  weapon   in   the  fight 
against  gum  troubles. 

For  Ipana  contains  ziratol,  a  stimulat- 
ing antiseptic  and  hemostatic  long  used 
by  the  profession.  Its  presence  gives 
Ipana  the  power  to  tone  and  invigorate 
weakened  gums  —  to  build  them  back 
to  sound  and  sturdy  health. 

Ipana  deserves  a  full  month's  trial 

The  coupon  offers  you  a  ten-day  sample, 
gladly  sent.  But  the  full-size  tube  await- 
ing you  at  the  nearest  drug  store  makes 
the  better  test.  For  it  contains  100 
brushings,  more  than  enough  for  a 
month.  So  get  a  rube  today  and  let 
Ipana  start  tonight  on  its  good  work 
for  your  teeth  and  gums. 

73  West  Street.  New  York.  N.  Y. 

Kindly  send  me  a  trial  tube  of  IPANA  TOOTH 
PASTE.  Enclosed  is  a  two-cent  stamp  to  covet  partly 
the  cost  of  packing  and  mailing. 



Ciiy Suit 

Whcti  you  write  to  ajvertlsers   please  mention  PHOTOrLAT  M.4GAZINE. 

Photoplay  Mac.a/.ine — Advertising  Section 

now  it's  on  the  screen— i^ith 
talking,  singing  and  sound! 


C  Thrill  to  the  mag- 
nificent voice  of  Jean 
Hersholt!  C,  Hear 
Nancy  Carroll  as  she 
sings,  while  Charles 
Rogers  accompanies 
Iier  on  ibe  piano! 




And  watch  for! 

ThtfiruQUALITY  Alt-Talking 

Emil  Jannings  in 

■'Sins  of  the  Fathers" 


■'The  Canary  Murder 


With  Sound  and  Dialog 


"The  Case  of  Lena 

Slarriog  Esther  Ralston 


Richard  Dix  in 


Sound  and  Technicolor 


f  „U  secure  „;ciare  "»*  .,-«  the  o*?*" 

°*  ,  molVow  V^'^'  _„,  picture  it  • 


Hot*""'  '         ,1      \ 


paramount  famous  lasky  corporation 

ley  >'-^-v<:>- 

U     .i.-..-l 


Every  advertisement  in  PIIOTori/AY  MAGAZINE  la  rnnianteed. 

The  World's   Leading   Motion   Picture   Publication 






Vol.  XXXV 





James  R. Quirk 


No.  2 


The  High-Lights  of  This  Issue 

Cover  Design  Charles  Sheldon 

Madge  Bellamy — Painted  from  Lite 

As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 

Brickbats  and  Bouquets  8 

The  Voice  ot  the  Fan 

Brief  Reviews  of  Current  Pictures  10 

A  Guide  to  Your  Evening's  Entertainment 

Recipes  for  Party  Hostesses  15 

Let  Photoplay's  Cook  Book  Be  Your  Guide 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Sonny  Boy  Tad  Hastings    29 

Little  Davey  Lee  Follows  Brother  Frankie  to  Fame 

Diet — The  Menace  of  Hollywood 

Katherine  Albert     30 
Typical   "Star"  Luncheons  Are  Fatal   to  Health 
and  Happiness 

Girl  Wanted — No  Experience  Required 

Cal  York    34 

Charlie  Chaplin  Picks — Literally  Out  of  the  Sky — 
a  New  Leading  Lady 

The  Studio  Murder  Mystery     The  Edingtons    36 

Two    Conflicting    Confessions    Baffle    the    Police. 
There's  $3,000  for  Solutions  of  This  Crime 

Here  Are  Winners  of  $5,000  Contest  40 

Awards  Made  for  Photoplay's  Annual  Cut  Picture 

The  Stars  That  Never  Were 

Margaret  E.  Sangster    44 
Chinese  New  Year — A  True  Story  ot  Hollywood 






Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

My  Life — So  Far  As  told  to  Dorothy  Spensley 
Janet  Gaynor  Relates  Her  Hollywood  Experiences 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

What  Do  You  Mean — Intellectual? 

Katherine  Albert 

Aileen  Pringle  Hates  to  Be  Tagged  "The  Darling  of 
the  Intelligentsia" 

Conrad  in  Quest  of  a  Voice  Mark  Larkin 

Wherein  Mr.  Nagel  Talks  About  the  Talkies 

Doug's  Ofifice  Boy  Makes  Good         Cal  York    63 

But  Barry  Norton  Did  It  on  the  Screen — Not  Be- 
hind a  Desk 

Photoplay  Reviews  the  Film  Year 

Frederick  James  Smith 

Fifteen  Stars  and  Players  Scored  More  Than  One 
Best  Performance  in  Photoplay  During  1928  ' 

Good  Girl  (Fiction  Story)     Alice  L.  Tildesley 

Ken  Laurel's  Heart  Stood  Still  for  Years,  Until — 

Amateur  Movies  Frederick  James  Smith 

Interest  Grows  in  Photoplay's  $2,000  Contest 

How  to  Make  a  Winter  Hat  for  $3.50 

Lois  Shirley 
Esther  Ralston  Demonstrates  the  Way 

"Imagine  My  Embarrassment — " 

Vernon  Bailey 
How  Don  Terry,  Tourist,  Found  Out  That  He  Was 
"Just  the  Type" 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 

Casts  of  Current  Photoplays 

Complete  lor  Every  Picture  Reviewed  in  This  Issue 










A  complete  list  of  all  photoplays   reviewed   in  the    Shadow   Stage  this   issue   will  be  found  on   page  12 



Published  monthly  by  the  Photoplay  Publishing  Co. 

Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Oflice,  750  N.  Michigan  Ave.,  Chicago,  III 

The  International  News  Company.  Ltd..  Distributing  Agents.  5  Bream's  Building.  London.  England 

James  R.  Quirk,  President  Robert  M.  Eastman.  Vice-President  Kathryn  Dougherty,  Secretary  and  Treasurer 

Yearly  Subscription:  S2.50  in  the  United  States,  its  dependencies.  Mexico  and  Cuba;  S3. 00  Canada;  S3. .SO  to  foreiijtn  countries.     Remittances 

should  be  made  by  check,  or  jiostal  or  express  money  order.    Caution— Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24.  1912.  at  the  Postofflce  at  Chlcaso.  III.,  under  the  .Act  of  March  3.  1879. 

Copyright.  1928.  by  the  Photoplay  Publishing  Company.  Chicago. 

As  We  Go 

to  Press 

Last  Minute 



East  and  West 

MAURITZ  STILLER,  director  and 
discoverer  of  Greta  Garbo,  died  sud- 
denly in  Stockholm.  Miss  Garbo 
was  prostrated  by  the  news  and  work  on 
her  new  picture  has  been  held  up. 

WALTER  BYRON,  the  young  English 
actor,  and  Carolyn  Bishop  have 
announced  their  engagement.  Miss  Bishop, 
a  cousin  of  Frances  Marion,  was  once  re- 
ported engaged  to  Gene  Tunney. 

BYRON  has  just  been  loaned  to  Gloria 
Swanson  for  "King  Kelly."  Tully 
Marshall  plays  the  heavy.  Erich  Von 
Stroheim  is  rushing  (yes,  rushing)  work  on 
the  film,  working  night  and  day,  and  Holly- 
wood is  holding  its  breath.  Miss  Swanson 
is  living  at  the  studio  in  a  suite  of  rooms,  so 
that  she  can  be  on  hand  for  Von  Stroheim's 
rapid  fire  shooting  schedule.  Will  wonders 
never  cease? 

FINDING  no  producer  ready  to  sign  him 
up  at  his  figure,  $3,500  a  week.  Rod 
La  Rocque  has  gone  ahead  with  his  plans  to 
leave  the  picture  business.  He  is  opening 
up  a  brokerage  business  in  Los  Angeles  and 
is  already  dealing  in  bonds  and  mortgages. 

ESTHER  RALSTON  and  her  husband, 
George  Webb,  start  a  European  vaca- 
tion this  month. 

RICHARD  DIX  gets  his  wish.  He  is  back 
in  Ne\y  York,  to  work  at  the  Famous 
Players'  Astoria,  Long  Island, 
studio.  It  will  be  a  talkie  ver- 
sion of  "Bulldog  Druramond" 
and  Victor  Schertzinger  will 

OUR  GANG  is  back  at  the 
Hal  Roach  studios  after 
a  tour  of  287  of  the  country's 

NOW  they're  talking  of  do- 
ing  "A  Connecticut 
Yankee  in  King  Arthur's 
Court"  over  again  at  the  Fox 
plant.  Remember  the  superb 
Harry  Myers  version  of  some 
years  ago?  This  time  it  will 
be    an    all-talkie    and    Will 

Vilma  Banky  takes  time 
out  to  become  an  Ameri- 
can citizen.  She  recently 
signed  her  first  citizenship 
papers  in  I-os  Angeles. 
The  freckled  observer  is 
Carter  J.  Vermillion, 
United  States  Naturaliza- 
tion Examiner.  Miss 
Eanky  was  born  at  Buda- 
pest, Hungary 

Rogers    is    mentioned    for 
hero  from  Bridgeport. 

Mark    Twain's 

FRED  THOMSON  and  Frances  Marion 
celebrated  their  ninth  wedding  anni- 
versary on  October  13th  as  "Denial  Anni- 
versary." In  other  words,  they  deny  all 
rumors  of  an  impending  divorce. 

LUCILE  MENDEZ  isn't  going  to  divorce 
her    husband.      Director    Ralph    Ince. 
They're  reunited  again. 

JOAN  CRAWFORD'S  first  starring  vehicle 
will  be  Josephine  Lovett's  sequel  to  her 
highly  successful  "Our  Dancing  Daughters." 
The  sequel  is  "The  Brass  Band."  After 
this  Miss  Crawford  will  star  in  Adela  Rogers 
St.  Johns'  "The  Single  Standard." 

SHARON     LYNN'S     playing     in    "Red 
Wine"  won  her  a  five-year  optional  con- 
tract with  William  Fox. 

JUNE  COLLYER  is  spending  Christmas 
with  her  parents  in  New  York.  Rumor 
persists  that  the  Fox  studio  will  not  renew 
its  contract  with  Miss  CoUyer. 

CHESTER  CONKLIN  has  purchased  a 
yacht.     This  tops  a  collection  which  in- 
cludes a  swimming  pool  and  a  pipe  organ. 

TIM  McCOY  is  spending  Christmas  with 
his    wife    and    children    abroad.      The 
children  are  in  school  on  the  other  side. 

YOU  will  see  Betty  Compson  opposite 
Richard  Barthelmess  again  in  "Weary 
River."  She  was  with  him  in  "Scarlet 
Seas."  "Weary  River"  has  patches  of 
dialogue  and  song. 

THE  temptation  to  change  a  Barrie  title  is 
over-powering.  Paramount  has  just 
shifted  Sir  James'  "Half  an  Hour"  to  "The 
Doctor's  Secret."  This  is  an  all-talkie  with 
Ruth  Chatterton  featured. 

ADOLPHE  MENJOU  and  Florence 
Vidor  will  appear  in  a  talkie  version  of 
Leo  Dietrichstein's  success,  "The  Concert." 
Lothar  Mendez  will  direct.  After  "The 
Concert"  the  Menjous  start  on  a  vacation. 

BACLANOVA  and  Nicholas  Soussanin 
may  be  married  by  the  time  you  read 
this  page.  The  wedding  takes  place  this 

REGINALD  DENNY  and  Betsy  Lee 
were  scheduled  to  be  married  on  No- 
vember 24th  as  this  issue  went  to  press. 
The  Honolulu  honeymoon  will  be  held  up 
until  Denny  finishes  "His  Lucky  Day." 
By  the  way.  Universal  has  just  taken  up  its 
option  upon  Denny's  long  term  contract  for 
another  year. 

THE  Fox  Movietone  powers  are  planning 
an  annual  picture  to  be  called  "The 
Movietone  FoHies."  This  will  be  modelled 
after  the  Ziegfeld  FoUies. 

Photoplay  Magazine — Advertising  Section 

f>tmNX  >s  NO 


You  need  "HILARIOUS," 
"UPROARIOUS"  to  de- 
scribe Colleen's  latest 
laugh  success. 

Brisk  and  bubbly,  swift 
and  sprightly,  it's  the 
kind  of  a  hit  you've  been 
hankering  for  ever  since 
"Her    Wild    Oat"   and 

"Oh  Kay!"  .  .  . 

»        •*        * 
She  was  too  Good  to  be 
Famous — so  she  HAD  to 
be  Bad! 

She  warned  to  Sin  and 
Suffer — and  get  it  over 
with!  .  .  . 

"I'll  show  Don  Anthony 
I  can  be  Crushed  and 
Broken!  —  Then  he'll 
have  to  make  me  leading 
lady   in  his   new  play!" 

A  gang  war  and  a  mis- 
leading lady  give  her  her 
Big  Chance  .  .  .  But  her 
only  "crushing"  oppor- 
tunity comes  in  a  role  she 
never  expected  to  play! 

Yon  Call  H£  AR  It! 

If  your  theatre  shows  "Sound"  pictures,  you'll 
H£AR  a  beautiful  musical  accompaniment  by  a 
famous  orchestra,  and  exciting  sound  effects  in 
^'Synthetic  Sin."  You'll  see  handsome  Antonio 
Moreno,  too,  as  leading  man,  in  this  William  A. 
Seiter  production  from  the  brilliant  play  by 
Frederic  and  Fanny  Hatton. 




Three  prizes 

are  given  e'very  month 

for  the  best  letters'^ 

$23,  $10  and  $S 



the  FANS, 

The  Monthly  Barometer 

nPHE  Talkie  situation  still  has  the  center  of 
•*•  the  stage.  Photoplay's  readers  would  like 
theater  managers  to  differentiate  more  sharply 
between  pictures  with  spoken  dialogue  and 
pictures  with  incidental  noises.  Also  there  is  a 
demand  for  more  music,  singing  and  dialogue 
and  fewer  distracting  incidental  noises.  And 
now  that  the  novelty  is  wearing  off,  the 
me.hanical  imperfections  are  beginning  to  jar 
on  the  nerves  of  audiences. 

Since  "The  King  of  Kings"  has  been  pre- 
sented at  popular  prices,  it  has  become  one  of 
the  leaders  in  popularity.  "Wings"  still  re- 
mains a  fa\-orite  while,  among  the  newer  iilms, 
"Our  Dancing  Daughters"  and  "The  Singing 
Kool"  are  by  all  odds  the  most  popular. 

Richard  .\rlen.  Xils  Asther,  Joan  Crawford, 
(rcta  Garbo  and  John  Gilbert  received  the 
greatest  number  of  bouquets. 

And  Photopl.av's  Life  Stories  are  the  most 
dis;ussed  feature  of  the  magazine. 

What  have  you  to  say  about  the  movies? 
This  is  the  pla:e  to  air  your  opinions,  griev- 
ances or  enthusiasms. 

$25.00  Letter 

Grand  Rapids,  Mich. 

It  is  too  bad  we  hear  so  much  about  IT  and 
the  sex  appeal  of  movie  folk,  for  it  gives  some 
persons  unacquainted  with  photoplays  in 
general  the  impression  that  the  main  function 
of  the  movies  is  to  depict  red  hot  love  scenes. 
As  a  club  woman  associated  with  many 
organizations  having  unofficial  movie  censor- 
ship committees,  I  regret  this.  And  I  have 
been  interested  to  note  that  among  the  movies 
I  have  seen  during  the  past  year  or  more,  the 
biggest  drawing  cards  had  nothing  to  do  with 
sex  appeal — some  of  them  did  not  even  involve 
a  man  and  woman  romance.  Among  these 
were:  "Stella  Dallas,"  "The  Patriot,"  "The 
Jazz  Singer,"  "Beau  Gcste,"  and  "The  King 
of  Kings." 

In  "Beau  Geste,"  for  instance,  that  powerful 
drama  of  courage  and  brotheriy  love,  there  was 
(he  merest  suggestion  of  a  boy  and  girl  romance 
— and  no  love  scenes.  Vet  so  moving  and 
appealing  was  this  splendid  picture  that,  as  the 
lights  went  on,  I  could  not  sec  a  dry  eye. 
Quite  a  compliment  to  the  "morons"  who  at- 
tend the  movies!  The  major  theme  of  the 
popular  "Stella  Dallas"  was  mother  love;  of 
"The  Jazz  Singer."  the  religious  passions  and 
lofty  domestic  ideals  of  a  colorful  race.    "The 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 

Patriot"  depicted  the  love  of  a  man  for  his 
oppressed  country.  The  affair  with  his  mis- 
tress was  the  merest  incident.  And  "The 
King  of  Kings"  speaks  for  itself. 

Mrs.  Pendleton  Stew.'vrt  Morris,  Jr. 

$10.00  Letter 

Laconia,  N.  H. 

Visiting  at  the  home  of  a  friend,  I  was  sur- 
prised when  the  daughter,  aged  eight  years, 
presented  me  with  a  typewritten  invitation  to 
witness  "  Seventh  Heaven."  It  transpired  that 
a  number  of  children,  eight  or  ten  years  of  age, 
belong  to  a  Photoplay  Club,  under  the  care  of  a 
chaperon.  With  her,  they  see  certain  pictures 
and  proceed  to  study  the  principal  points  and 
characters.  .-Yssigned  to  their  parts,  the 
chaperon  teaches  them  every  necessity  for 
a  production.  .An  unused  garage  has  been 
fitted  up  with  everything  necessary  for  pro- 
ducing movies.  The  Club  earned  enough  by 
selling  Photopl.ay  subscriptions  to  furnish  the 
necessaries.  The  boys  ha\e  been  taught  how 
to  handle  scenic  effects  and  one  girl  gives  her 
time  as  pianist. 

Benches  are  used  for  seats  and  ten  cents  for 
admission  helps  along  the  project.  The 
"coach"  is  fifteen  years  old,  but  he  knows  his 
business,  and  the  realistic  production  I  wit- 
nessed was  perfect. 

.After  the  show,  "stars"  and  audience  were 
asked  for  criticisms  and  plans  were  made  for 
the  ne.\t  produ  lion.  .\nd  then  the  mothers 
offered     light     refreshments.       Worth-while? 

Pleasure  and  instruction  and  a  new  good  use 
for  Photoplay.  Incidentally,  the  idea  was 
invented  by  a  crippled  child. 

Mrs.  Charloite  Hill  Twombly. 

$5.00  Letter 

Chicago,  III. 

When  will  movie  magnates  cease  to  believe 
that  aviatrices,  channel  swimmers,  football 
heroes,  baseball  wizard:,  cl  alia,  can  attract 
fairly  intelligent  mo\'ie  patrons?  What  a 
pleasure  to  witness  real  acting  by  an  artist! 
But  what  an  insult  to  the  intelligence  to  see 
persons  of  questionable,  or  even  unquestioned, 
prowess  in  fields  of  endeavor  far  removed  from 
acting  exploited  because  of  their  "fame"! 

(iive  us  an  overdose,  if  possible,  of  great 
artists  like  Garbo,  Jannings,  Chaplin,  Bac- 
lanova,  \'eidt,  and  others  of  their  calibre. 
Spare,  oh  spare  us  from  "great"  flagpole 
sitters,  marathon  dance  winners  and  so  on, 
foisted  on  us  as  great  depicters  of  all  human 

Let  the  roller-skate  marathon  winners  and 
the  sensations  in  all  allied  activities  join  the 
side-shows  in  circuses  and  get  publicity  for 
whatever  they  excel  in.  15ut  by  all  means  keep 
them  out  of  a  field  in  which  they  have  abso- 
lutely no  place,  except,  perhaps,  as  news-reel 

Betty  Benkett. 

Going  Up! 

Chicago,  III. 
Joan  Crawford  certainly  is  shooting  up  like 
a  sky-rocket.    Her  pretty  legs  and  dancing  feet 
took  her  to  stardom,  but  her  fine  acting  wUl 
keep  her  there. 

Harriett  Lafquert. 

Personal  to  Doug  and  Jack 

Rush  City,  Jlinn. 
Here's  my  brickbat  to  a  couple  of  stars,  and 
I  think  many  thousands  of  fans  will  agree  with 

Douglas  Fairbanks!  Please  discard  the 
gypsy  outfit  for  at  least  one  picture,  and  let's 
see  how  you  look  in  a  straw  hat. 

John  Barrymorc!  Please  face  the  camera. 
Some  of  us  might  get  a  chance  to  go  to  Holly- 
wood some  day,  so  give  us  a  chance  to  recog- 
nize you. 

.\rxold  W.  Ogren. 
[  co.ntinued  on  page  12.s  ] 

Photoplay  Magazine — Advertising  Section 

rrSie  famouf  lover 

ivai  it  aWvay* 

Oee  and  Hear^ 

The  [huiiJct  ot  ,t  Imti'lrc!  Hamirii;  frigaio 
ac  Jiraih  ^rip?  — TIk-  most  colorful  nj\al 
Lombat  ill  iiistorv  rL-enauied  iii  rich 
detail  — Tht  shouts  of  chom:itiJ«  m  bfcjth- 
less  battle  aaion-  ice  ^  fjmuus  .mists  in  .1 
single  picnirc  —  Coilrme  Griliith.  H.  B. 
WjrriLr.  Victor  Vartoiii.  Ian  Keith.  Marie 
Dressltr,  Sec  dirci-tof  Fcink  Lk-yJ  outJo 
the  difc-i-torul  brilliantc  ct  "The  S(.-.i 
Hi^k.  — PrcstntcdbyRichardA  RowbnJ 

A  lirAt 



Takes  the  Guesswork  Out 
of  "Going  to  the  Movies" 

Delilah's  love  sent  Samson  into  slavery- 
For  Salome.  King  Herod  sold  his  sod- 
And  Pelleasfell  at  his  brother's  hand 
1,1  the  arms  of  lovely  Melisande. 

r  *  f  f 

The  world  has  called  these  glamor- 
ous women  great  lovers.    Yet  all 
of  them  made  sacrifice  of  the  men 
they  loved  — 

How  much  greater,  then,  is  a  devo- 
tion that  dares  to  sacrifice  LOVE 
ITSELF. ...  An  emotion  so  mighty 
that,  when  Love  spells  Ruin  for 
the  Man,  a  glorious  beauty  re- 
nounces her  last  hope  of  happi- 
ness to  SAVE  HIM  FROM 

*  f  r  * 

No  wonder   the   romance   of 

luxurious  Lady  Hamilton  and  world- 
renowned  Lord  Nelson  has  been 
called  ihe  greatest  of  all  Great 
Loves  .  One  of  history's  most 
thrilling  sirens  and  the  famous  hero 
of  Trafalgar,  united  m  a  reckless 
love  pact  that  was  at  once  the 
scandal  and  the  salvation  of  an 
Empire . . . 

No  wonder  First  National  Pic- 
tures chose  this  epic  story,  from 
E.  Barrington's  great  bestseller, 
as  theme  for  a  vast  screen  spectacle 
of  unimagined  splendor,  planned 
to  mark  a  step  for^-ard  in  picture 


No  wonder  millions  ate  plan- 
ning to  see— and  hear— 



w /tt  jouncl 

Brief  Reviews  of 

Current  Pictures 

indicates  that  photoplay  was  named  as  one 
of  the  SIX  best  upon  its  month  of  review 

*AIR  CIRCUS,  THE— Fox.— Collegiate  stuff  in 
an  :ivi;ition  training  school.     Good.     (November.) 

AIR  LEGION,  THE— FBO.— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  {Dec.) 

Al  R  M.ML  PILOT,  THE — Superlative. — .'Another 
air  mail  storv  which  breaks  all  the  rules  of  aviation. 

Maver. — The  old  favorite,  revived  with  William 
Haines.     Good.     (Oct.) 

ANN.\POLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  tlie  future.   (November.) 

AWAKENING,  THE  —  United  Artists.  —  First 
starring  picture  of  \'ilma  Banky  and  Walter  Byron. 
He's  a  nice  looking  lad.  .\  "IVlaric-Odile"  plot. 

B.'VBY  CYCLONE,  THE  —  Metro-Goldwyn- 
Mayer.— .All  right,  if  you  like  Pekinese  pups. 

BACHELOR'S  PARADISE  —  Tifiany-Stahl.— A 
somewhat  rowdy  comedy-drama  with  a  little  old- 
fashioned  pie-throwing  and  an  invigorating  prize- 
fight.   Witli  Sally  O'Neil.     (July.) 

BANTAM  COWBOY,  THE— FBO.— Only  good 
because  Buzz  Barton  is  in  it.     (Ocl.) 

*BARKER.  THE— First  National. — Human  and 
humorous  slory  of  circus  life.  With  Milton  Sills.  See 
it.     (September.) 

BATTLE  OF  THE  SEXES,  THE— United  Artists. 
— Hnw  a  happy  homo  is  wrecked  by  a  blonde. 
Sophisticated  drama.      (September.) 

BE.\U  BROADWAY — Metro-Goldwyn-Mayer. — 
Aileen  Pringle  and  Sue  Carol  fight  for  the  affections  of 
Lew  Cody.     Gay,  inconsequential  comedy.     (July.) 

BEAUTIFUL  BUT  DUMB— Tiffany-Stahl.— 
Patsy  Ruth  Miller  in  gay  comedy.       (Ocl.) 

BEGGARS  OF  LIFE— Paramount. — The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  (Dec.) 

*BELLAMY  TRIAL,  THE  —  Metro-Goldwyn- 
Maver. — The  auflience  is  admitted  to  the  court  room 
of  the  most  thrilling  murder  mystery  of  the  year. 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  wlio's  gut  the  emerald?     (November.) 

BEYOND  THE  SIERRAS  —  Metro-Goldwyn- 
Ma\-er. — .\  Tim  McCoy  Western  that  will  put  the 
kids  to  sleep.     (July.) 

BIG  HOP,  THE— Buck  .Tones. — Mr.  Jones  crosses 
the  Pacilic.    .\  good  film.     (Ocl.) 

BIG  KILLING,  THE— Paramount.- Wallace 
Beery  and  Ra\'mond  Hatton  becotne  all  tangled  up 
in  a  1-Centuckv  feud.     (.■Insusl.) 

BIT  OF  HEAVEN,  A — Excellent. — Broadway  vs. 
Park  .Avenue.    .\  good  performance  by  Uia  Lee.  (Ocl.) 

BITTER  SWEtTS— Peerless.— Fun  in  the  life  of 
a  girl  detective.    (Dec.) 

BLACK  BUTTERFLIES— Quality.— Exposing  tlie 
wicked  ways  of  tlie  fake  Bohemians.     (November.) 

BRANDED  MAN,  THE— Rayart.— The  best 
part  of  this  domestic  opera  is  the  titles.  Why  not  do 
your  reading  at  home?     (.August.) 

BROADWAY  DADDIES  —  Columbia.— Trite 
story  but  well  acted.     (Ocl.) 

BROKEN  MASK,  THE— Anchor.— Ugly  story 
of  revenge  but  well  told  and  acted.      (September.) 

BROTHERLY  LOVE  —  Metro-Goldwyn-Mayer. 
— Messrs.  Dane  and  .Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES—  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre^  Harry  Carey, 
in  a  dual  r61c.  (Dec.) 

BURNING  GOLD— Elbec.— A  story  of  dirty 
deeds   in  the  oil   fields.      (August.) 

BURNING  THE  WIND— Universal.— One  of 
Hoot  Gibson's  lapses.     (Oct.) 

•BUSHRANGER,THE— Metro-Goldwyn-Mayer  — 
Tim  McCoy  goes  to  Australia  and  plays  some  rousing 
tunes  on  the  boo  men  ng.     (.August.) 

BUTTER  AND  EGG  MAN,  THE— First  Na- 
tional.— The  amusing  adventures  of  a  country  lad 
(.lack  Mulhall)  who  becomes  an  "angel"  on  Broad- 
way.   (.August.) 

CAMERAMAN,  THE— Metro-Goldwyn-Mayer. 
—  Buster  Keaton  redeems  himself  in  this  one.  Lots  of 
laughs.     (Ocl.) 

CAPTAIN  CARELESS— FBO.— You'll  like  Bob 
Steele.     (Oa.) 

CAPTAIN  SWAGGER — Pathe.— Good  comedy 
in  which  Rod  La  Rocque.  as  a  naughty  aviator,  is  per- 
suasively reformed  b\-  Sue  Carol.     (November.) 

♦CARDBOARD  LOVER,  THE — Metro-Goldwyn- 
Mayer. — Snapps-  Frencli  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Asther.  Sophis- 
ticated and  charming.     (Oct.) 

CAUGHT  IN  THE  FOG— Warners.— The  plot 
gets  lost  in  the  fog,  too.     (.August.) 

CELEBRITY — Pathe. — .A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Ocl.) 

CERTAIN  YOUNG  MAN,  A— Metro-Goldwyn- 
Maver. — Romantic  two-timing  in  Arlenesque  London 
society.  A  bit  languid,  but  well  played  by  Ramon 
Novarro.  even  if  he  isn't  precisely  the  perfect  .Anglo- 
Saxon.     (July.) 

Pictu  res   You 

Should  Not  Miss 

"7th  Heaven" 

"The  Singing  Fool" 

"The  Divine  Lady" 


"Mother  Kncws  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 


"The  Godless  Girl" 

\s  a  service  to  its  readers.  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
precedini;  si.^  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


the  .Arsenline  Republic  got  that  way.     With  Francis 
X.  Bushman.   (Dec.) 

CHEYENNE — First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 

CHICKEN  A  LA  KING— Fox. — More  lessons  in 
Kold-dig'jing.  Funny,  but  rough  in  spots.  With 
Nancy  Carroll  and  Ford  Sterling.      (.Augu^l.) 

CIRCUS  KID,  THE— FBO.— You  can  sleep 
througli  It.      (Dec.) 

CLEARING  THE  TRAIL— tJniversal.-Again 
saving  tlie  old  ranch.      (Ocl.) 

Stahl. — Help!  The  Czar's  daughter  is  with  us  again, 
this  time  played  by  Eve  Southern.  The  picture  lias 
its  good  moments.     (July.) 

CLOUD  DODGER,  THE— Universal.- A  battle 
in  the  air  for  a  dizz\'  blonde!     (Oct.) 

CODE  OF  THE  AIR— Bischoff.— More  air  stuff. 
Good  adventure  story.    (Ocl.) 

CODE  OF  THE  SCARLET— First  National.— 
Ken  Maynard  gets  /nv  m^ui.  Good  out-door  storj'. 

COME  AND  GET  IT— FBO.— Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

Lots  of  propaganda.  With  such  a  live  topic,  tins 
should  have  been  a  better  picture.     (Oct.) 

COP,  THE — Pathe-De  Mille. — Once  more  the  war- 
fare between  the  cops  and  crooks.  Some  good  melo- 
drama well  acted  by  William  Boyd,  Alan  Hale  and 
Jacqueline  Logan.     (July.) 

*COSSACKS,  THE  —  Metro-Goldwyn-Mayer.— 
Love,  sport  and  murder  among  the  cowboys  of 
Russil.    Jack  Gilbert  is  the  lure.     (.August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

COWBOY  KID,  THE— Fo.x. — .A  Western  for  the 
simple-minded.     (September.) 

♦CRAIG'S  WIFE— Pathe. — Splendid  drama  with 
Irene  Rich  as  the  too  perfect  wife.     (September.) 

CRASH,  THE — First  National.— Wo/  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 

CROOKS  CAN'T  WIN— FBO.— Good  celluloid 
gone  haywire.  Will  someone  please  stop  the  liliii 
crime  wave?    (August.) 

DANGER  PATROL,  THE  —  Rayart.  —  A  big 
wholesome,  fresh  air  drama  of  the  Northwest  with 
three  rousing  murders.     (July.) 

DANGER  RIDER,  THE— Universal.— There's  a 
saving  dash  of  originality  in  the  plot  of  this  Hoot 
Gibson  Western.     (July.) 

DANGER  STREET — FBO. — .A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  wa^•  to  forget.     (November.) 

DAWN — Herbert  Wilcox. — .An  English  production 
that  gives  a  fair  and  impartial  presentation  of  the 
Edith  Cavellcase.     (.August.) 

DEMON  RIDER.  THE— Davis.— Just  a  West- 
ern.     (Dec.) 

DESERT  BRIDE,  THE  —  Columbia.  —  Betty 
Compson.  as  a  Parisian  beauty,  raises  havoc  in  the 
Foreign  Legion.      (.August.) 

DETECTIVES  —  Metro-Goldwyn-Mayer.  —  Karl 
Dane  and  George  K.  .Arthur  in  a  collection  of  gags — 
and  some  of  them  are  not  exactly  spotless.     (July.) 

vating bunk.      (September.) 

*DIVINE  LADY,  THE— First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     (Dec.) 

DIVINE  SINNER,  THE— Rayart.— Austrian 
drama  with  daring  but  grown-up  theme.      (Ocl.) 

A  siiort  farce  turned  into  a  panic  by  the  appearance 
of  a  real,  live  gorilla.     (.August.) 

*DOCKS  OF  NEW  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 

DOG  JUSTICE— FBO. — But  the  story  is  a  cruel 
injustice  to  Ranger,  the  canine  star.     (.August.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 

I  CONTINtTED  ON  PAGE   1  2  | 


Photoplay  Magazine — Advertising  Section 

T  T 

se  Talking  Shorts /^^ Really  Features 
Elaboi'ately  Produced  at\^S)^  Movietone  Qt^ 



^o\^n  for./,  director  - 
FOUR  S()>S,  TUL  IK*'^ 
XVk  and  oUur  fanu...^ 

Vox  v^^^^»^:z^^:. 

,he  first  time, Ut'^^"" 

l,is  actors  in    this  play   i>y 

Arthur  Caesar. 

Packed  ^viih  -'i -;;;;■;;;(: 

...iin    opifiranis,    this    <■■ 
^X:;.  Movietone  ^.n«..^l-J 

cilen.ent^^as^a"^^.^^    ^^^^  , 

^rant,Bewarc7^U  curyou\;S3";-'^""'-''°' 


'.  \^- 

ar  to  ear' 

Charles  (Chic)  Sale 

has    .iven   a    -^   n-^^V;j: 

lion  of  tl'C 
Lincoln  in 

IS   cniti*»-  .- 
man  vvlio  knew 

Marching  On 


'TellTne  ^bopt  Mr.^incoin  Grandp 

Directed    by    M-ce.    SWrcr 


Gl,l  ML-  '."he    LADIES' 
IMLSS     and      I  l'^- 



The  funnies,  clovvns  on  U.e 

Lrccn!     >Sliat   poofy    fiu>s. 

XVI.      irresistible   eonudy 

v'.n    never    /..or./  or  -w 

funnier  picture  than 



Be^  Pardon>-Is  thi?  ba^h  e^ed?^ 

-What  me  the  SOtIND  WAVES  Saiying? 

In   these   talking    pictures    WILLIAM   FOX   presents   the 
ONLY   perfected   talking    film.      The    Sound    Waves   are 

photographed  right  on  the  celluloid  and  you  therefore  hear 

ONLY    absolutely  life 

The  Balh 

V„„  will  p-^f  !^„^'lt 

vourself   sick   a.    1HE    "^^^^ 

^YSTEIM  and  T  Hb  l"' 
'^^.^TS-but   take  a  chance 
and  see  them  loo. 

like  soinids.     Ask   your 
neighborhood    theatre 
when  these  Fox  Movie- 
tone   entertainments 
will  be  seen  and  heard. 

[luioid  and  vou  therelore  near  |  ^___^  ^"^'■^ 


ou  write  to  advertisers   please  mention   PHOTOl'I.AY   MACVZINE. 

Brief    Reviews   of   Current    Pictures 


DON'T  MARRY  —  Fox.  —  An  amusing  little  ro- 
mantic comedy  iliat  will  please  the  gals.  Gayly 
played  by  Lois  Moran  and  Neil  Hamilton.   {July.) 

DO  YOUR  DUTY— First  National.— Charlie 
Murrav  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  {Dec.) 

*DRAG  NET,  THE  —  Paramount.  —  Vivid  and 
swiftly  mo\'ing  underworld  story  with  grade  A  acting 
bv  George  Bancroft,  William  Powell  and  Evelyn 
Brent.     {July.) 

*DRY  MARTINI— Fox.— Sophisticated  comedy 
among  tlic  Anirrican  dry  law  ex-patriots  of  the  Ritz 
bar  in  Paris.    Naughty  but  neat.     {Novejnber.) 

DUGAN  OF  THE  DUGOUTS— Anchor.— Gag- 
ging the  Great  War  again.     (September.) 

DUTV'S  REWARD— Elbee.— More  cops,  crooked 
politics,  etc.    (Dec.) 

What  the  Soviet  wants  >-ou  to  believe.  St.  Peters- 
burg destroyed  by  trick  camera  angles.     {August.) 

EXCESS  BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid  and  realistic  picture  of  stage  life.  See  it. 

FAMILY  PICNIC,  THE  — Fox- Movietone.— 
Pioneer  all-talking  comedy.  See  it  and  write  your 
own  remedy.     (September.) 

FANGS  OF  FATE— Pathe.— Klondike,  the  dog 
growls  through  an  old  story.     (September.) 

FAZIL^Fox. — Proving  the  sheiks  make  bad 
husbands.  Torrid  necking  in  the  desert.  Not  for 
the  kindergarten  class.     (August.) 

FIFTY-FIFTY  GIRL,  THE— Paramount.— Bebe 
Daniels  inherits  half  a  gold  mine.  It  turns  out  to  be  a 
gold  mine  of  laughs.  James  Hall  is  her  leading  man. 
Recommended  to  your  kind  attention.     (July.) 

ton eats  up  the  Western  scenery.     (September.) 

FIRST  KISS.  THE— Paramount.— Young  love, 
played  by  Fay  Wray  and  Garj-  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN.  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 

FLEETWING— Fox.— A  story  of  Araby,  a  giri, 
a  sheik  and  a  horse.     (September.) 

FLYING  COWBOY,  THE— Universal.— Fun— 
and  lots  of  it — on  a  dude  ranch.  With  Hoot  Gibjon. 

FORBIDDEN  HOUR.  THE— Metro-Goldwyn- 
Mayer. — Ramon  Novarro  is  at  his  best  as  the  prince- 
at-play.  Tlie  story  of  a  king  who  gave  up  his  throne 
for  love.  .And  Renee  Adoree  is  in  it.  You'll  like  this 
one.     (July.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damlta.     (Dec.) 

♦FORGOTTEN  FACES— Paramount.-Under- 
world  storj'  of  regeneration  and  sacrifice.  Fine  story, 
fine  acting,  and  100  per  cent  entertainment.    {Sept.) 

•FOUR  DEVILS— Fox.— Dramatic  and  beautifully 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Charles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

*FOUR  WALLS— Metro-Goldw\'n-Mayer.— Story 
of  Jewish  gangster,  splendidly  played  by  John  Gilbert. 
Don't  miss  it.      {September.) 

FREE  LIPS — First  Division. — Virtue  triumphant 
in  a  night  club.  Just  another  one  of  those  pictures. 
With  June  Marlowe.     (July.) 

FURY  OF  THE  WILD— FBO.— More  real  meat 
for  Ranger.     (November.) 

GANG  WAR— FBO.— Yep,  bootleggers  and  crooks 
again.     (September.) 

GATE  CRASHER,  THE— Universal.— Glen  Try- 
on  in  a  hit-and-miss  comedy.     (September.) 

GEORGE  BERNARD  SHAW— Fox-Movietone.- 
Mr.  Shaw  ontert;\ins  liis  public  with  an  imitation  of 
Mussolini.    It's  a  wow.     (September.) 

GIRL  HE  DIDN'T  BUY,  THE— Peerless.— Light 
story  of  a  Broadway  love  affair  with  an  original  twist 
to  the  plot.     (.August.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec.) 

GIVE  AND  TAKE— Universal.— A  silly  story  but 
made  into  good  entertainment  by  the  expert  comedy 
offered  by  Jean  Hersholt  and  George  Sidney.    (July.) 

♦GLORIOUS  BETSY— Warners.— The  romantic 
story  of  Jerome  Bonaparte  and  Betsy  Patterson  of 
Baltimore.  Tricked  up  with  a  happy  but  unhistoric 
ending.  Mildly  charming,  and  decked  out  with  Vita- 
phonic  outbursts.     Dolores  Costello  starred.     (July.) 

^GODLESS  GIRL,  THE— Pathe-De  Mille— A 
vitally  interesting  and  vivid  story  told  with  all  the 
force  and  power  Cecil  B.  De  Mille  could  give  it.  In- 
cidentally, it  takes  a  poke  at  reform  schools.  -A  real 
picture  with  splendid  acting  by  Marie  Prevost.  George 
Duryea,   Noah   Beery  and  Lina   Basquette.   (July.) 

GOLDEN  CLOWN,  THE  —  Nordisk-Pathe.  — 
Even  Denmark  has  a  clown  who  laughs  to  conceal  a 
broken  heart.  Turgid  foreign  drama  with  a  fine  per- 
formance by  Gosta  Eckman.     (July.) 

GOLDEN  SHACKLES— Peerless.— You  can't 
see  the  picture  for  the  plot.     (August.) 

GOLF  WIDOWS  —  Columbia.  —  Comedy  drama 
built  on  one  of  the  terrible  consequences  of  country 
club  life.  With  Harrison  Ford  and  Vera  Reynolds. 

GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    {Nov.) 

•  Universal.  —  Dumb 


Western.      (September. ) 

GREEN    GRASS    WIDOWS— Tiffany-Stahl.    — 

Walter  Hagen  in  a  goofy  golf  story.    He  should  know 
better.      (September.) 

GUARDIANS  OF  THE  WILD— Universal  — 
Too  bad  that  Rex,  the  wonder  horse,  can't  write  his 
own  stories  and  put  som,e  horse-sense  into  them. 

GYPSY  OF  THE  NORTH— Rayart,— A  better 
than  usual  melodrama  of  the  Northern  mining 
camps.    {August,) 

HALF  A  BRIDE— Paramount.— Wherein  a  bride 
is  cast  away  on  a  desert  island  with  the  wrong  man. 

HANGMAN'S  HOUSE— Fox.— A  good  drama  of 
Ireland,  with  some  splendid  backgrounds,  a  fine 
horse  race  and  an  excellent  performance  by  Victor 
McLaglen.    (.August.) 

HAPPINESS  AHEAD— First  National.— What 
might  have  been  merely  tawdry  melodrama  is  turned 
into  fine  entertainment  by  the  splendid  acting  of 
Colleen  Moore,  Edmund  Lowe  and  Lilyan  Tash- 
man.    {.August.) 

HAUNTED  HOUSE.  THE— First  National  — 
Too  much  Chester  Conklin  and  not  enough  m^'stcry. 

HAWK'S  NEST,  THE— First  National.— An  in- 
teresting and  colorful  melodrama  of  Chinatown,  ex- 
cellently acted  by  Milton  Sills  and  Doris  Kenvon. 

HEADIN'  FOR  DANGER  —  FBO. —The  best 
Western  in  months.  New  plot,  new  situations,  new 
gags  and  Bob  Steele.     (July.) 

HEAD  MAN,  THE— First  National.— What 
happened  in  a  small  town  when  the  Ladies' Auxiliary 
drank  too  much  lemonade.     (August.) 

HEARTS  OF  MEN— Anchor.— And  producers 
ain't  got  no  heart.     (Oct.) 

HEART  TO  HEART— First  National.— Agreeable 
and  original  comedy  of  small  town  life.  You'll  like  it. 

HEART  TROUBLE— First  National.— Harr>' 
Langdon  writes  liis  own  finish  in  pictures.     (Sept.) 

HELLO.  CHEYENNE— Fox.— That  distinguished 
litterateur,  Mr.  Tom  Mix,  in  a  Western  that  is  pep- 
pered with  new  stunts.     (July.) 

HELL  SHIP  BRONSON— Gotham.— Noah  Beery 
does  some  of  his  best  acting  as  a  rip-roaring  old  sea 
captain  who  is  licked  and  frustrated  by  two  women. 
You'll  be  sorry  when  virtue  triumphs.  Swell  enter- 
tainment.    (July.) 

HEY,  RUBE— FBO.— Carnival  life  film  that  has 
the  real  stuff.  (Dec.) 

HIS  LAST  HAUL— FBO.-Just  a  tear  ierker. 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HIS  RISE  TO  FAME— Excellent —Prize  ring 
stuff  with  night  club  trimmings.      (September.) 

HIT  OF  THE  SHOW.  THE— FBO.— A  lot  of 
grief  about  the  hard  life  of  a  small-town  actor.  Just 
a  tear-fest.     (July.) 

HOLLYWOOD  BOUND  —  Warners.  —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Ho!l>'\vood  than 
Parsons,  Kans.     (November.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  (Dec.) 

*HOME  TOWNERS,  THE— Warners— Smooth- 
est talkie  so  far.  Good  lines,  by  George  M.  Cohan, 
and  a  fine  performance  by  Doris  Kenyon.  (Dec.) 

HOT  NEWS— Paramount.— Bebe  Daniels  hunts 
for  thrills  in  the  news  reel  game.  And  finds  'em. 

— Dynamite,  the  new  dog  star,  blasts  an  inferior 
story  to  success.     (Aiigusl.) 

HOUSE  OF  SCANDAL,  THE— Tiffany-Stahl  — 
If  you  are  not  sick  of  cops,  crooks  and  the  inevitable 
girl  who  reforms.     (July.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     {November.) 

INSPIRATION— Excellent.— Too  little  of  the 
title  role.  (Dec.) 

♦INTERFERENCE  —  Paramount.— Drama  and 
suspense  in  a  Grade  .A  murder  story.  Well  acted 
and  well  spoken — yes,  it's  a  talkie.    (Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

JUST  MARRIED  —  Paramount.  —  Honeymoon 
farce  on  a  transatlantic  liner.  Lots  of  laughs. 

Photoplays   Reviewed   in   tke  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evenings  entertainment.     M.a\e  this  your  reference  list. 


Adoration — First  National 54 

A  Man  of  Peace — Warners 93 

Amazing  \'agabond,  The — FBO 93 

Avalanche — Paramount 54 

Avensing  Rider,  The— FBO 92 

A  Woman  of  Affairs— H.-G.-JI 53 

Black  Ace,  The— Pathe 93 

Cavalier,  The — Tiffany-Stahl 93 

City  of  Purple  Dreams,  The — Rayart. .   92 

Driftwood — Columbia 92 

Geraldine — Pathe 54 

Harvest  of  Hate,  The — Uni\-ersal 92 

Head  of  the  Family,  The — Gotham.. .  .   92 


King  Cowboy— FBO 92 

King  of  the  Rodeo — Universal 92 

Legend  of  Gosta  Barling,  The — Swedish 

Biograph 92 

Making  the  Varsity — Excellent 92 

Napoleon's  Barber — Fo.x-Movietone. .  .  93 

Naughty  Baby — First  National 54 

On  Trial — Warners- Vitaphone 55 

Outcast — First  National 52 

Power  of  the  Press,  The — Columbia.  .  .  92 

Queen  of  Burlesque — Tiffany-Stahl. ...  92 

Red  Mark,  The— Pathe 54 


Red  Wine— Fo.x 53 

Riley  the  Cop — Fox 55 

Romance  of  the  Underworld — Fox.  ...   52 

Scarlet  Seas — First  National 53 

Shakedown,  The — Universal 93 

Silent  Sheldon— Rayart 92 

Sinners'  Parade — Columbia 92 

Sins  of  the  Fathers — Paramount 52 

Sioux  Flood— M.-G.-M 92 

Someone  to   Love — Paramount !   54 

South  of  Panama— Chesterfield 92 

\'iking.  The— Technicolor-M.-G.-M.  .  .   55 


Photoplay  Magazine — Advertising  Section 


KID'S  CLEVER,  THE— Univt-rsal.— But  the  film 
isn't.     {Novt-mbtr.) 

*KIT  CARSON — Paramount. — FrcfJ  Thomson  in 
an  above  par  western.     (Oct.) 

LADIES  OF  THE  MOB  —  Paramount.  —  Clara 
Bow  becomes  a  gunman's  "moll"  and  handles  a 
dramatic  story  skillfully.     {September.) 

Stalil. — A  clown  and  a  millionaire  are  rivals  for  the 
affections  of  a  cabaret  girl.  Synthetic  heart  interest. 

LADY  RAFFLES— Columbia.— A  mystery  melo- 
drama witli  a  real  mystery — of  all  things!  And  some 
snappy  team  work  by  Estelle  Taylor  and  Lilyan 
Tashman.     (Jw/y.) 

LIGHTNING  SPEED— FBC— Adventures  of  a 
new.-^paper  reporter — as  the  movies  see  'cm.       {Nov.) 

LIGHTS  OF  NEW  YORK  —  Warner- Vitaphont. 
— First  all-talkie  feature  and.  naturallv.  pretty  crude. 
Squawking  night  clubs  and  audible  murders. 
(Stp  Umber.) 

*LILAC  TIME— First  National.— Thrilling  and 
romantic  war  drama  with  enough  sentiment  to  lift 
it  above  the  run  of  war  plays.     {.August.) 

LINGERIE— Tiffany-Stahl.— Alice  White  and 
Malcolm  McGregor  in  a  war  romance  that  you'll 
like.     {Oct.) 

LION  AND  THE  MOUSE— Warner-Vitaphone.— 
Partli'  dialogue  witli  some  effective  performances. 
But  the  story  belongs  to  a  past  decade.      {September.) 

LITTLE  SNOB,  THE  —  Warners.  —  A  Coney 
Island  kid  tries  to  crash  society  but  discovers  that  the 
freaks  are  better  company.  With  May  McAvoy. 

LITTLE  WILDCAT,  THE— Warners.— Nothing 
to  shoot  up  the  blood  pressure.     {November.) 

LITTLE    WILD    GIRL,    THE— Hercules.— Lila 

Lee  gets  mixed  up  in  a  lot  of  old-fashioned  hokum. 


awful  fuss  about  nothing  at  all.     {Aususl.) 

LONESOME  —  Universal.  —  Barbara  Kent  and 
Glenn  Tryon  in  a  good  human  interest  story  of  young 
love  in  modern  backgrounds.  Lots  of  trick  camera 
work  but,  on  the  whole,  worth  your  while.     {July.) 

LOST  IN  THE  ARCTIC— Fox— Interesting  and 
wortliwliile  story  of  .\rctic  Exploration.    {Oct.) 

LOVE  OVER  NIGHT— Pathe.— Mystery  stuff 
casLd  over  witli  some  good  comedy.      {September.) 

MADELON— Universal.— A  talkie— so  bad  that 
it  should  be  a  museum  piece.     {November.) 

Mother  and  daughter  in  a  mix-up  of  romances. 
Suave  direction  and  the  fascinating  work  of  Florence 
Vidor  put  this  picture  across.     (August.) 

MAKING  THE  GRADE— Fox.— An  excellent 
movietone,  based  on  a  George  Ade  story.  {Dec.) 

— Thrilling  and  enthralling  Secret  Service  yarn. 
Above  average.      (Seplemher.) 

story  of  life  in  New  York's  theatrical  circles — told 
with  a  kick.     {Dec.) 

MAN  IN  HOBBLES,  THE— Tiffany-Stahl  — 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
cnmedy.      (Dec.) 

golf  siory.  A  Western  with  slinn-  villain,  foolish  old 
man,  tomboy  daughter — and  Our  Hero!     {July.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.     It's  a  Movietone.  {Dec.) 

MARKED  MONEY— Pathe.— Pleasant  comedy 
with  human  interest.      {Dec.) 

MASKED  ANGEL,  A— Chadwick.— Just  dumb. 


MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.      {Dec.) 

♦MATING  CALL,  THE— Paramount-Caddo.— 
Thomas  Meighan,  Evelyn  Brent  and  Renee  Adoree 
in  an  unusual  stor>'  of  strong  dramatic  appeal.  (Oct.) 

*ME.  GANGSTER— Fox.— Sentimental,  melo- 
dramatic and  yet  completely  absorbing.  Introducing 
an  unusual  newconier,  one  Don  Terry,  whose  perform- 
ance is  worth  seeing.     {November.) 

MICHIGAN  KID,  THE— Universal.- Thrilling 
melodrama  and  beautiful  scenery  successfully  smother 
a  Horatio  Alger  plot.  With  Conrad  Nagel  and  Renee 
Adoree.     {July.) 

MIDNIGHT  ADVENTURE,  A— Rayart.— Some- 
thing verv  niftv  and  baffling  in  the  way  of  a  murder. 

MIDNIGHT  LIFE— Gotham.- Night  club  stuff 
and  a  bit  bloodthirsty.      (Oct.) 

MIDNIGHT  TAXI,  THE— Warners.— Bootlegger 
and  hijackers  run  riot.     {August.) 

MODERN  MOTHERS— Columbia.— Show  folks 
vs.  Babbitts.      {Oct.) 

MORGAN'S    LAST    RAID  —  Metro-Goldwyn- 

Mayer.— An  old-time  melodrama  made  passable  by 
modern  endnlhshments.     {November.) 

*MOTIIERKNOWSBEST— Fox.— Edna  Ferbers 

story  of  a  stage  motlicr  whoye  dominating,  relentlei^s 
ambition  for  her  daughter  sends  the  girl  to  fame.  A 
remarkable  performance  by  Madge  Bellamy  and 
great  acting  by  Louise  Dresser  and  Barry  Norton. 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  (Dec.) 

MYSTERIOUS  LADY,  THE  —  Metro-Goldw>n- 
Majer. — Greta  Garbo  as  a  spy  in  a  war  romance. 
And.  oh  what  fun  for  the  officers!    {September.) 

NAME  THE  WOMAN— Columbia.— And  also 
name  the  plot.     {Oct.) 

NED  McCOBB'S  DAUGHTER— Palhe.—Plenty 

of  action  plus  sound  drama  plus  fine  acting.    {Dec.) 

*NEWS  PARADE,  THE— Fox.— A  snappy  and 
original  melodrama  of  the  exploits  of  the  news  reel 
photographers.  Nick  Stuart  and  Sally  Phipps  head 
tlie  cast.    Excellent  way  to  spend  the  evening.    {July.) 

NIGHT  BIRD.  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  tlie  prize-ring,  where  he  is  at  his 
best.     {November.) 

*NIGHT  WATCH,  THE— First  National.— War 
story  with  navv  background  and  some  good  drama. 
/l"d  BillieDove.    {Oct.) 

*NOAH'S  ARK— Warners. — Big  cast,  big  theme, 
big  flood.    Your  money's  worth.     {Oct.) 

NONE  BUT  THE  BRAVE— Fox.— Once  more  the 
college  hero  makes  good.     {Oct.) 

NO  OTHER  WOMAN— Fox.— One  of  'Dolores 
Del  Rio's  early  movie  mistakes,  dug  up  for  no  good 
reason.     {September. ) 

NO  QUESTIONS  ASKED— Warners.— William 
Collier,  Jr..  and  Audrey  Ferris  in  one  of  those  "first 
year  '  stories.    Just  so-so.     {July.) 

OBEY  YOUR  HUSBAND— Anchor.— Horrible 
moral  lesson  for  naughty  wives.     (September.) 

OH  KAY! — First  National. — Colleen  Moore  in 
some  agreeable  nonsense.     (Oct.) 

OLD  CODE,  THE— Anchor.— Heaven  help  the 
Indian  on  a  night  like  this!    {Oct.) 

OPENING  NIGHT,  THE  —  Columbia.  —  One 
moment  of  cowardice  wrecks  the  life  of  an  otherwise 
fine  man.     A  drama  worth  seeing.      lAugiist.) 

ORPHANS  OF  THE  SAGE— FBO.— Boss  pitcli- 
er.     {Oct.) 

Goldwyn-Mayer. — Lively  and  very  modern  romance 
in  the  younger  set,  staged  in  a  luxurious  background 
and  ornamented  by  Joan  Crawford,  Anita  Paee  and 
Dorothy  Sebastian.  John  Mack  Brown  and  Nils 
Asther  also  lielp  a  lot.     (.'\ugust.) 

OUT  OF  THE  RUINS— First  National.— Dick 
Bartlielmess  in  a  pretty  uniform  and  a  Buster 
Keaton  expression.      {Oct.) 

OUT  WITH  THE  TIDE— Fearless.- Great  hand- 
fuls  of  melodrama.     {November.) 

PAINTED  POST— Fox.— Tom  Mix's  swan  song 
for  Fox.     (September.) 

PERFECT  CRIME,  THE— FBO.— Clive  Brook, 
as  a  great  detective,  is  in  search  of  a  perfect  crime. 
How  he  finds  it  is  the  basis  of  an  unusually  fine 
m\'stcry  >'arn.     (July.) 

PHANTOM  CITY,  THE— First  National.— Fun 
and  mystery  in  a  deserted  mining  town,  with  Ken 
Maynard  as  the  spook  chaser.     (.Xugust.) 

PHANTOM  PINTO,  THE— Ben  Wilson.— Why 
expect  a  pinto  pony  and  a  flock  of  horses  to  furnish 
all  the  brains  of  a  picture?      (August.) 

PLASTERED  IN  PARIS— Fox— Pretty  tire- 
some.     {Dec.) 

POLLY  OF  THE  MOVIES— First  Division.- 
Inexpensive  but  eiitertLtining  film  about  an  ugl\' 
duckling  wlio  would  be  a  movie  cpieen.    {September.) 

PORT  OF  DREAMS— Universal.— Proving  that 
you  can't  make  a  "7th  Heaven"  just  by  slowing  down 
the  scenes.     Tliis  one  is  full  of  yawns.     (November.) 

*POWER — Pathe. — Romantic  adventures  of  Bill 
Boyd  and  Alan  Hale  a  couple  of  dam  good  workers — 
or  good  flam  workrr>.      .\nd  verj'  funny,  too.     (Sept.) 

PRICE  OF  FEAR,  THE— Universal.— Something 
to  avoid.      (Dec.) 

PROWLERS   OF  THE   SEA— Tiffany-Stahl.   — 

Devastating  eftects  of  a  beautiful  Cuban  girl  on  the 
morale  of  a  Navy  officer.      {Septetnber.) 

Routine.  Temptations  of  a  chorus  girl,  with  virtue 
triumpliant.      {August.) 

♦RACKET.  THE— Caddo-Paramount.— Thomas 
Meiglian,  as  a  lone  cop,  cleans  up  a  ganp  of  racketeer'^, 
headed  by  Louis  Wolheim.    Don't  miss  it.    {August.) 

RAIDER  EMDEN,  THE— Emelka-Columbia.— A 
thrilling  reproduction  of  the  most  spectacular  sea 
exploits  of  the  War.     {A  ugust.) 

RANSOM^ — Columbia. — Childish  rumpus  over  a 
heav>'  international  secret.     Third  rale.     (Oct.) 
1  CONTINUED  ON  PAGK  111  ] 

A  Chri^mas 


Twelve  Times 

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'Audiences   are    sacfing  it,   Everywhere  ;  — 

Xtlasty  PICTURESr/zarTALi; 

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are  electrifying  audiences 
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Every  advertisement  In  PnOTOPLAY  MAGAZINE  Is  goiaranteed. 





Three  good  dishes, 

furnished  by  the  stars, 

that  your  guests  are 

sure  to  like 

MANY  readers  have  written  to  me,  asking  for  suggestions 
for  "something  different"  to  serve  at  evening  parties. 
They  tell  me  that  they  are  tired  of  sandwiches  and 
would  like  to  give  their  friends  something  special  for  a  change. 
As  a  rule,  women  like  salads,  esp'ecially  if  they  are  served 
attractively,  while  men  want  something  more  substantial. 
The  problem  of  most  hostesses,  unless  they  have  several 
well-trained  servants,  is  to  find  something  to  serve  that  will 
not  take  too  much  last  minute  preparation.  So  the  three 
recipes  that  I  am  suggesting  for  parties  are  all  practical  for 
the  hostess  who,  with  one  maid,  must  not  only  prepare  the 
dishes  but  serve  them  too. 

A  very  simple  recipe  which  is  fine  for  small  evening  parties 
was  contributed  to  Photopl.^y's  Cook  Book  by  Harold  Lloyd. 
It  is  called  Eggs  Dolores.  Here  :ire  the  ingredients  but,  of 
course,  if  you  are  serving  twelve  people,  you  must  double  the 

\^  teaspoon  salt 
cheese       1  teaspoon  Worcestershire  sauce 

Corinne  Griffith  takes  a  cooking  lesson  from  O'ive. 
As  a  Southerner,  Miss  Griffith  is  partial  to  Dixie 
cooking.  On  this  page,  you  will  find  a  recipe  for 
Nut  Sticks,  as  they  are  prepared  for  Corinne  by 

Strain  tomatoes  and  put  in  double  boiler.  Boil  up  once. 
Add  grated  cheese  and  seasoning  and  cook  until  melted.  .Add 
eggs,  which  have  been  beaten  until  lemon  colored.  Cook 
until  eggs  are  set.     Serve  very  hot  on  toast. 

This,  as  you  see,  is  a  variation  of  Welsh  rarebit  and  it  is 
invariably  popular  with  men. 

MARION  D.AVIES  furnishes  another  good  party  recipe  to 
the  Cook  Book.  It  is  slightly  more  elaborate,  but  by 
making  the  pie  crust  the  day  before,  you  not  only  improve 
the  quality  of  the  crust  but  simplify  the  last  minute  prep- 

For  the  pie  crust  for  Miss  Davies'  cheese  patties: 

IJ-^  cups  flour 
l^  teaspoon  salt 

6  tablespoons  shortening 
A  little  cold  water 

1  can  tomatoes 

2  cups  grated  American 
6  eggs 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 

Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 

Sift  the  dry  ingredients  and  rub  in  the  shortening  ver\' 
lightly  with  the  fingertips.  .\dd  the  water  slowly,  just  enough 
to  make  a  stitl  dough.  Roll  out  very  thin  on  floured  board 
and  line  patty  pans,  being  careful  to  make  pastry  come  well 
over  edge  of  pan. 

For  the  filling: 

2  tablespoons  butter  3-^  cup  grated  cheese 

2  eggs  1  teaspoon  baking  powder 

}^  cup  bread  crumbs  One  third  cup  milk 

Seasoning  to  taste 

Beat  the  butter  until  creamy  and  add  slightly  beaten  eggs, 
bread  crumbs,  cheese,  baking  powder  and  seasoning.  Mi.\  in 
the  milk.  Place  a  small  quantity  in  each  tin  and  bake  for 
fifteen  minutes  in  a  hot  oven. 

FOR  Corinne  Griffith's  Nut  Sticks,  which  are  ideal  to  serve 
with  salad:  Work  one-half  teaspoon  butter  into  a  pint  of 
flour  into  which  you  have  sifted  1  teaspoon  baking  powder 
and  }-2  teaspoon  salt.  I\Ii.\"  thoroughly  and  add  enough  milk 
to  roll  into  light  dough.  Roll  out  the  dough  until  about  one- 
fourth  inch  thick.  Brush  lightly  with  milk  and  spread  with 
chopped  hickory  nuts  or  almonds,  pressing  the  nutmeats  into 
the  dough.  Mold  strips  of  dough  inio  thin  sticks,  place  in  a 
shallow  greased  pan  and  bake  to  a  delicate  brown. 

In  Photoplay's  Cook  Book  you  will  find  other  recipes 
which  will  help  you  make  your  parties  a  success.  By  filling 
out  the  little  coupon  to  your  left,  you  may  receive  the  Cook 
Book,  with  its  one  hundred  and  fifty  star  recipes,  by  return 

Cakolyn  \'ax  Wvck. 


Friendly  Advice  from  Carolyn  Van  Wyck 



Men  judge  by  appearances.    And  so,  like  Joan  Crawford 

as  Diana  in  "Our  Dancing  Daughters,"  the  girl  who 

has  the  reputation  of  beinga  fiirt  sometimes  has  a  hard 

time  convincing  a  man  that  she  really  loves  him 

/  am  in  love!  And,  though  I  am 
twenty,  I  am  in  love  for  the  first  time. 
l)oein't  it  seem  a  strange  statement — coming 
from  a  girl  who  has  been  called  "ultra  modern"? 
Everybody  in  my  crowd,  thinks  that  I  have 
been  in  love  ever  so  many  times! 

And.  oh.  Carolyn  \'an  Wyck,  that  is  my 
problem!  For  the  man  that  I  adore  thinks  so, 
too.  He  utterly  believes  that  there  have 
been  other  men — perhaps  many  of  them — in 
my  life.  And,  because  he  believes  this  thing, 
he  has  put  up  a  strange  sort  of  a  mental 
barrier  between  us.  And  I  can't  seem  to  get 
beyond  that  barrier. 

I'm — well.  I'm  just  dizzy  over  him!  And 
that's  the  truth.  I  can't  sleep  for  thinking 
about  him.  And  it  is  not  a  foohsh  crush,  for 
I'm  a  grown  woman.  I  know,  too,  that  he  feels 
the  same  way  about  me,  for — to  be  \'ery  per- 
sonal— he  can  hardly  keep  his  hands  oft  me. 
.\nd  he  can't  control  his  eyes  at  all.  But — 
this  is  the  trouble: 

I've  always  been  what  people  call  the  "life 
of  the  party."  I've  danced  the  longest,  and 
laughed  the  loudest,  and  stayed  the  latest. 
I've  told  the  newest  stories  and  sung  the  latest 
songs.  I've  flirted  the  hardest!  And  so  I 
have  the  reputation  of  being  spcedv.  Only — 
I'm  telling  you  the  truth,  Miss  Van  Wyck— 
my  speed  has  all  been  on  the  surface.  I've 
kept  my  lo\-e,  all  of  it,  for  the  man  that  I 
would  s<ime  day  marry.  I've  kept  myself 
clean  for  him. 

>»ow — I've  found  the  man.  But  I  can't 
seem  to  put  over  with  him  the  fact  that  I'm  the 
sort  of  a  girl  I  really  am.  He  is  judging  me 
entirely  by  surface  things — just  as  e\er  so 
many  others  judge  me.  And  before  I  know  it 
he  wiU  go  off  and  marry  some  little  pero.\ide 
blonde  with  big  eyes — who  lisps.  And  who 
does  things,  in  private,  that  I  wouldn't  even 
care  to  think  about! 

Can  you  gi\e  me  any  advice.  Miss  Van 
Wyck?    This  is  a  vital  matter,  with  me.    My 


life's  happiness  is  hanging  by  a  thread. 
And  I  don't  know  what  to  do  to 
make  it  more  secure! 

WiLM.I  K. 

APPEARANCES— said  the  old 
-''■adage — are  often  deceitful.  And 
it  is  the  truth,  this  saying!  Especially 
so  in  your  case.  Wilma — and,  I  ha\-e 
no  doubt,  in  many  another  case  that 
is  parallel  with  yours.  For  you  have 
gi\-en  so  much  publicity  to  your 
youth  and  good  spirits  and  desire  for 
fun  that  you  ha\-e  allowed  yourself 
to  be  quite  misunderstood.  And  the 
sort  of  misunderstanding  that  you 
have  permitted  is  the  sort  that  is  apt 
to  breed   serious   trouble. 

As,  for  instance,  in  the  case  of  Diana 
— the  heroine  of  "Our  Dancing 
Daughters."  ^^^ 

Have  you,  by  the  way,  seen  "Our 
Dancing  Daughters"?  It  you  haven't 
I  should  suggest  that  you  locate  the  theater 
at  which  it  is  playing.  And  that  you  go  to 
see  it,  at  once.  And,  if  possible,  take  with 
you  the  young  man  that  you  love!  Seeing  the 
picture — and  especially  seeing  it  with  you — 
won't  do  him  any  harm. 

For  "Our  Dancing  Daughters"  is  the  story  of 
a  girl  who,  in  e\-ery  way,  is  like  you.  She,  too, 
has  always  been  the  life  of  the  party.  And 
when  she  falls  in  love,  the  man  that  she  cares 
for  distrusts  her.  And,  as  a  direct  result  of 
this  distrust,  he  marries  another  girl  who 
seerns  sweet  and  gentle  and  innocent. 

-  Needless  to  say,  the  marriage  is  a  miserable 
failure.  It  works  out  in  a  way  brutally  unfair 
to  the  man.  The  innocent,  sweet  girl  has  been 
hiding  from  him  her  real  nature.  But,  after 
marriage,  the  real  nature  comes  to  light.  It  is 
only  through  blind  luck  that  the  stoiy  comes, 
at  last,  to  a  happy  ending! 

"Our  Dancing  Daughters"  is  a  vivid  pic- 
ture.   It  teaches  that  one's  eyes  do  not  always 

Appearances  May 

Is  This  Month's  Problem 

BY  this  I  don't  mean  neatness  and 
smartness  and  prettiness.  When 
1  say  "appearances,"  I  mean  some- 
thing very  different.  I  mean  the  sort 
of  appearances  that  label  one  girl 
"sweet" — and  another  girl  "wild." 
.Sometimes  the  person  that  you  see — 
the  outside  person — is  quite  different 
from  the  inside  person.  Sometimes 
unbelievable  goodness  of  soul  is  hid- 
ing under  an  extremely  sophisticated 
exterior.     And  vice  versa! 

And — while  we're  talking  of  ap- 
pearances— remember  that  I'm  ready 
to  help  with  hair,  complexion  and 
clothes  problems — as  well  as  with 
matters  of  the  heart!  Beauty,  health 
and  happiness  are  all  topics  upon 
which  I  would  like  to  advise  you. 
Letters  enclosing  stamped,  self-ad- 
dressed envelopes  I  will  answer  by 
return  mail.  Those  without  postage 
will  be  answered  as  soon  as  possible, 
in  the  magazine. 

For  information  regarding  the  care 
of  the  skin,  send  a  stamped  envelope. 
And  if  you  want  to  weigh  less  (who 
doesn't?)  send  ten  cents  for  my 
booklet  on  sane  reducing  methods. 
Write  to  me  in  care  of  PHOTOPLAY 

Magazine,  221  West  57th  St.,  New 
York.     CAROLYN  VAN  WYCK. 

record  the  truth — that  circumstantial  evidence 
can  not  be  always  trusted.  It  mirrors  life  with 
a  real  fidelity.  E.\cept  in  this:  In  real  life  the 
ending  might  not  have  been  so  satisfactory!  In 
real  life  the  man  might  ha.\e  had  to  be  faithful 
for  fifty  years — to  a  desperate  mistake. 

Wilma,  I  am  going  to  gi\-e  you  the  advice 
for  which  you  ask.  'The  ad\-ice  isn't  going  to 
be  that  you  curb  your  high  spirits  or  give  up 
your  gayety,  or  that  you  cease  being  the  life  of 
the  party.  But  I  do  ad\ise  that  you  are  a  trifle 
more  discreet  in  your  actions — that  you  do  not 
beha\-e,  so  completely,  in  a  way  that  can  be 
misunderstood.  I  might  suggest  that  you  try 
to  be  more  modest  and  tactful — that  you  leave 
no  opening  by  which  you  may  be  falsely 
judged.  Folk,  especially  men,  can  not  be 
blamed  for  putting  their  own  interpretation 
upon  too  much  license.  They  have  only  ap- 
pearances upon  which  to  base  their  conclusions. 
How  can  they,  without  being  psychic,  know 

[  CONTINUED  ON  PAGE  98  ] 

Phoiuplay  Magazine — Advertising  Section 








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lOUTH,   CHARM,   LOVE,    SUCCESS — how 

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LL  roads  lead  to  Hollywood.     Dolores  Costello  was  born  in 
Pittsburgh  and  went  to  kindergarten   at  the   old  Vitagraph 
Studio  in  Brooklyn.    In  many  of  the  melodramas  of  that  day, 
Dolores  was  featured  as  the  angel  child  with  long  golden  curls. 

Lansing  Brown 

C~7~\^^  ALVARADO  comes  from  Albuquerque,  New  Mexico,  that  way  station  of  Hollywood 

/  ^  where  Indians  sell  beads  and  blankets  to  Califomia-bound  tourists.  His  mother  was  Spanish 

and  his  father  an  American.  One  day  Alvarado  hopped  a  rattler  and  landed  in  the  City  of 

Angels  and  camera  angles  at  a  time  when  Latin  ancestry  was  in  great  demand.    He's  married  and 

has  a  young  daughter,  Joy  Alvarado. 

i„in>iiiy  Brown 

r  w   "^ROM  Moscow  to  Hollywood — Olga  Baclanova.    If  you  want  to  be  correct,  pronounce 
t'  it  Bah-clahn-ova,  with  the  accent  on  the  "clahn."    The  Russian'  actress  received  her  train— 
«-^     ing  at  the  Moscow  Art  Theater,  at  whose  productions  high  brows  fall  flat  on  their  faces. 
The  lady  is  now  playing  in  a  Western — "Sunset  Pass."    With  her  foreign  background  and   her 
experience  on  the  stage  as  a  singer,  what  could  be  more  logical? 

Lansing  Brown 

(T^^^^ARCELINE  DAY — a  native  of  Colorado  Springs.     Five  years  ago,  with  her  mother 

^__yj  ^   ^^'^  fier  sister,  Alice,  Marceline  arrived  in  Hollywood.    Her  first  work  was  as  an  extra 

in  Lois  Wilson's  picture,  "Only  38."   When  there  was  no  studio  call,  she  attended 

school.    Marceline  has  been  leading  woman  for  everyone  from  John  Barrymore  to  Buster  Keaton, 

from  Ramon  Novarro  to  Lon  Chaney. 

(J^^^^^ARION  NIXON  was  born  in  Superior,  Wisconsin,  and  educated  in  Minneapolis. 

^^y  (i  1^   Shs  came  to  Hollywood  via  vaudeville  and,  like  Marceline,  served  her  apprenticeship 

as  an  extra  girl,  ornamenting  the  background  of  Mary  Pickford  and  Charles  Ray  films, 

before  she  earned  her  first  close-up.    Her  new  address  is  the  Pathe  Studios,  where  she  will  be 

starred  in  "Geraldine." 


y^HARLES  MORTON  is  one  of  the  Fox  youngsters  whose  acting  makes  "Four  Devils" 

/       worth  your  attention.    Born  in  Vallejo,  California,  Charles  was  educated  at  the  University 

^/   of  Wisconsin  where  he  played  football.    He  also  held  the  Detroit  Athletic  Club  record  for 

the  220  yard  swim.    Morton  played  a  season  in  vaudeville  with  William  Faversham's  company 

before  he  went  into  the  movies.    You'll  see  him  with  Janet  Gaynor  in  "Christine." 

^  OSSARD  "step-ins" 

are  ItTtO  STAY— and  they're 
stepping  up  in  general  favor 
with  every  season.    Considered 
revolutionary  and  decidedly  ex- 
treme when  Gossard  first  brought 
them  out,  their  popularity  has  in- 
creased by  leaps  and  bounds  be- 
cause modern  women  have  welcomed 
the  ease  with  which  they  could  be 
donned— the   end  of   old-fashioned 
buckling  and  what  not.  There  is  ease 
and  comfort  within  the  gentle  con- 
fines of  a  Gossard  "step-in."    Yet  so 
perfectly  does  it  mould  and  retain 
that  you  have  the  feeling  of  being 
tailor-made  right  down  to  the  flesh. 
You  enjoy  the  supreme  satisfaction 
of  wearing  a  foundation  garment 
designed   for    your    individual 
need.  The  model  pictured  here 
and  described  below  is  fea- 
tured   by    Gossard  dealers 
the  world  over.  Ask  for  it. 

A  fourteen-inch  step-in  of  rich 
brocade  combined  with  elastic. 
Wide  sections  of  elastic  over  hips 
and  a  five-inch  gore  in    front    en- 
hance the  glove-like  snugness  of  this 
garment.     Boned   front  and    back,  and 
trimmed  at  lop  with  ribbon  and  flowers. 
Lacing    adjustment    at    lop    on    one    side. 
This  is  Model  Number  738  ..  .  Retails  at  $7.50. 

THE  H    W    GOSSARD  CO..  Chicago.  New  York,  San  Francisco,  Dallas.  Atlanta.  London.  Toronto.  Sydney,  Buenos  Aires 

Division  ol  As^ocialed  Apparel  Induslries.  Inc. 


LcLck  one  emhrses 
the  aood  task  of 
ike  cjlvtr 

A  GIFT  for  a  day?  Far  more  than  that!  Truly  a  treasure  ....  for 
months  .  .  .  and  years!  The  mingled  qualities  of  beauty,  useful- 
ness and  duration  in  Meeker  Made  distinctive  leather  goods 
appeal  alike  to  giver  and  recipient.  Besides  the  momentary  thrill,  you 
may  be  sure  that  the  day-in  and  day-out  utility  of  any  one  of  these 
articles  will  prove  a  long-time  reminder  of  your  thoughtfulness  and 
judgment.  A  Meeker  Made  handbag,  underarm 
or  vanity,  rich  in  itself,  will  complement  any  cos- 
tume. Neutral  in  tone — a  harmonizing  accessory. 
A  billfold,  key  case  or  set  of  two  or  three  in 
matched  design  for  the  man,  well — you  just  can't 
give  him  anything  that  is  more  practical  or  any- 
thing he  would  rather  have.  The  genuine  imported 
steerhide  from  which  Meeker  Made  goods  are  ^^^^^■■F^  1 
fashioned  is  the  choicest  of  all  the  market  affords. 

Origiokl  ihapcs  And 
itvlci  lOjtechcr  with 
their  excellent  crafts- 
manthip  give  these 
haniJbafi»  their  char- 
acter and  enviable  re- 

Shapes  arc  smart.  Designs,  new  :ind  exclusive.  Beautifully 
tooled,  hand-colored  and  with  hand-laccd  edges,  they  repre- 
sent the  leather  craftsman's  most  distinguished  effort.  At  the 
better  dealers  everywhere. 

The  "Meeker  Made"  imprint  in  (he 
leather  is  your  guarantee  of  quuhty. 
Look  for  ic.  It  is  the  mark  uf  Tlic 
Mcckcr  Company,  Inc.,Juplin,  Mis- 
souri, hirjjcst  m.inufjctiir(.T>  of  ntctT- 
hide  Icjthcr  ^iiods   in   [he  U.S.A. 

finest  imported  fteerhlde 

^feather  (j^oods 

Bags  arc  suede  Icailicr  lined. 
Have  exclusive  turn  lock  frames. 
.^ppropriatc  fittings.  In  general 
effect  and  in  detail,  Meeker 
Made  leather  goods  arc  obvi- 
ously finer. 

There  arc  so  many  sugges- 
tions—Meeker  Made—for 
him,  A  billfold  with  hisown 
initial,  for  instance  ...  or  his 
lodge  orclubemblera.  A  key 
case.  Cigarette  case.  An  at- 
tractively boxed  gift  set.  Also 
other  items. 

The    National     G 

u  i  d  e     to 


Motion     Pictures 

January,  1929 


Close-Ups  and  Long-Shots 



R.  Quirk 

FOR  years  we  of  the 
photoplay  world  have 
been  told  what  we  ought 
to  see  by  the  professional 
snoopers  that  roam  the 
country.  With  the  coming  of 
talking  pictures,  it  is  probable 
that  a  lot  of  human  ear-plugs 
will  try  to  tell  us  what  to  hear. 

Now,  most  astonishing  of  all,  a  group 
of  people  in  Hollywood  are  trying  to  tell 
us  what  to  write  about  Hollywood  and 
its  folks. 

The  Motion  Picture  Academy  of  Arts 
and  Sciences  is  all  hot  and  bothered  about 
what  it  calls  the  "scurrilous,  degrading 
and  facetious  articles  published  about 
personalities  in  fan  magazines." 

'  I  'HIS  august  body  proposes,  with  the 
•^  help  of  press  agents  and  a  few  marines, 
to  establish  a  "white  list"  of  magazine 
writers  whom  it  is  safe  to  admit  to  the 

Once  in,  they  can  write  a  lot  of  pretty, 
backscratching  pieces  about  the  gods  of 

Unbelievable  though  it  may  seem,  it 
is  reported  that  one  famous  leading  man 
has  actually  moved  toward  the  deporta- 
tion of  a  British  magazine  writer  who 
grinds  out  articles  for  periodicals  in  this 
country  and  his  homeland. 



Such  astoundingly  high- 
handed procedure  against  the 
freedom  of  the  typewriter 
could  only  be  born  in  the  mad- 
der sections  of  the  film  colony. 

TARS  are  no  longer  born 
in  the  shadow  of  the  Sphinx, 
nor  do  they  keep  pet  doodle- 
bugs, nor  do  little  children  run  at  the 
approach  of  vampires  as  they  did  in  the 
golden  days  of  fan  rubbish. 

Can  it  be  that  these  actors  and  pro- 
ducers object  to  a  little  truth? 

No  one  gets  scurrilous  at  the  expense 
of  Hollywood  any  more.  It  is  both 
wrong  and  out  of  fashion.  But  the  self- 
anointed  censors  don't  seem  to  know 
that.  They  appear  to  be  living,  in  misty 
stupidity,  in  the  days  of  1920. 

Photoplay,  at  least,  tries  to  play  the 
game  of  Truth  with  its  two  million  readers 
and  the  picture  people.  And  it  does  not 
like  to  see  anyone  in  filmland  deal  from 
the  bottom  of  the  deck. 

A  S  for  the  press  agents,  called  in  to 
■*■  *-help  the  outraged  mummers,  it  is 
really  too  bad.  Ink  is  their  life-blood, 
and  white  paper  their  world,  and  if  they 
try  to  join  hands  and  turn  on  the  writ- 
ing people,  it  will  be  tantamount  to  neatly 
slitting    their    throats    with    their    own 



paper  cutters.  If  they  are  wise,  they  will 
cut  and  run  for  the  deep  woods  until  the 
fussing  Academicians  forget  this  silly  peeve 
and  begin  fuming  and  sputtering  about 
something  else. 

Oh  dear!  Some  people  never  will  learn 
when  they're  well  off! 

A  LITTLE  German  girl  is  going  back 
home  from  Hollywood. 

In  this  fact  is  hidden  one  of  the  little 
heartbreaks  of  the  gold  coast. 

Irving  Thalberg,  honeymooning  in  Ger- 
many, found  Eva  von  Berne  and  imported 
her.  They  reduced  her  and  redressed  her 
and  primped  her,  and  put  her  across  from 
Jack  Gilbert  in  "Masks  of  the  Devil." 
Now  she  is  going  home. 

Metro-Goldwyn  says  the  talkies  have 
made  her  garbled  English  useless,  but  we 
can  take  that  or  leave  it  alone. 

I  am  afraid  the  truth  is  that  Eva  just 
wouldn't  do.  She  didn't  photograph  well, 
and  her  acting  opposite  the  star  didn't 
spell  anything  like  hit. 

And  so  a  little  German  girl  is  going  back 
to  Deutschland,  probably  with  a  serious 
crack  in  her  heart.  Goodbye,  Eva.  It's  a 
tough  break.  Just  a  little  Cinderella  on 
whom  the  prince  couldn't  fit  the  glittering 

WHEN  Prince  George  of  England 
played  hookey  from  his  cruiser  and 
made  whoopee  in  Hollywood  he  did  a  better 
job  of  handshaking  across  the  sea  than  a 
dozen  notes  by  nervous,  high-strung  diplo- 

Young  George  struck  the  human  note  on 
the  royal  xylophone  when  he  tea'd  with 
Lily  Damita,  dined  with  Mary  Pickford 
and  danced  the  morning  in  at  Fatty  Ar- 
buckle's  night  club. 

The  whole  country  smiled  at  his  carry- 
ings on.  Only  his  captain  seemed  a  little 

And  when  his  girl  friends  wirelessed  the 
ship  at  sea,  offering  condolences  on  his 
punishment,  the  kid  had  a  good-sport  answer 

"The  fun  I  had  in  Hollywood  was  worth 

THE  Soviet    Government's  newest  blow 
for  Art  to  reach  this  country    is  "Ten 
Days   that   Shook  the  World."      It  ought 


to  be  retitled  "Ten  Reels  that  Ruined  the 
Eyesight."  And  while  it  seems  too  bad 
to  dampen  the  enthusiasm  of  those  who 
rate  the  Russian  film  directors  higher  than 
our  local  talent,  may  we  remind  the  public 
of  a  few  facts? 

All  films  made  in  Russia  are  produced  un- 
der the  direct  supervision  of  the  Soviet 

They  are  pure  propaganda  and  should  be 
plainly  labeled  as  such. 

THE  Soviet  Government  is  no  more  in- 
clined to  give  an  unbiased  picture  of  the 
events  of  the  Revolution  than  is  the  Anti- 
Saloon  League  likely  to  give  you  the 
straight  facts  on  Prohibition. 

For  example:  in  "Ten  Days  that  Shook 
the  World"  Trotsky  is  completely  elimi- 
nated from  the  picture,  although  he  was  an 
active  factor  in  the  Revolution.  But  Trotsky 
is  out  of  favor  and  the  present  leaders  don't 
want  to  give  him  any  publicity. 

SO  when  you  go  to  see  a  Soviet  picture, 
keep  a  few  of  these  points  in  mind. 

Remember  that  you  are  seeing  Russian 
history  as  the  Soviet  leaders  want  you  to 
see  it — not  as  it  happened. 

Remember  you  are  paying  your  admission 
fee,  not  for  a  commercial  product,  but  for 

And  remember  that  there  isn't  a  political 
party  in  this  country  that  could  produce 
such  propaganda  and  have  it  presented  in 
theaters  where  an  admission  fee  is  charged. 

IS  the  heavy  film  lover  dying  with  the 
immortal  dodo? 

With  all  precincts  reported,  Peoria,  111., 
votes  "yes." 

Lon  Chaney  is  cock  of  the  walk  in  the 
middle  west  now.  The  great  Putty  King, 
in  "When  the  City  Sleeps,"  outdrew  John 
Barrymore,  Ronald  Colman  and  Rod  La 
Rocque  combined  in  the  same  length  of 

CHANEY  is  the  best  bet,  with  Emil 
Jannings  not  far  behind  and  George 
Bancroft  a  hot  third.  The  day  of  the  hairy 
he-man  is  in,  as  far  as  Peoria  goes. 

You  remember  the  old  political  saying, 
"As  Peoria  goes,  so  goes  the  nation."  Take 
heart,  male  fans!  Perhaps  it's  out  of  the 
boudoir  into  the  logging  camps! 



Ten  years  later  another 
film  hit  comes  to  the  Lee 
family,  as  little  Davey 
follows  Brother  Frankie 
to  fame 

Tad  Hastings 

THIS  is  a  story  about   a  little  boy  and  his  big 
Credit  for  the  little  boy's  discovery  has  been 
given  to  Al  Jolson.    It  belongs,  instead,  to  a  woman  and 
to  an  obscure  casting  director. 

The  woman  knew  long  before  anyone  else  that  this  little  boy 
was  a  remarkable  child.  It  is  not  strange  that  she  knew,  how- 
ever, for  she  is  his  mother.  And  mothers  know  a  great  many 
things  long  before  other  people  know  them,  and  often  are  not 
given  credit  for  the  knowledge. 

The  name  of  the  lad  is  Davey  Lee.  He  will  be  four  years  old 
exactly  fourteen  days  after  this  story  goes  on  all  newsstands — 
on  the  twenty-ninth  of  December,  to  be  specific. 

So  you  see,  he  is  a  sort  of  combination  Christmas  present  and 
New  Year's  greeting — one  that  people  will  cherish  forever  if  he 
continues  his  present  cinema  pace. 

Davey  plays  the  part  of  Sonny  Boy 
in  Al  Jolson's  new  picture,  "The  Sing- 
ing Fool."  And  he  fairly  tears  the 
heart  out  of  you,  too,  when,  dying,  he 
asks  his  daddy  to  sing  him  to  sleep. 

The  story  of  how  Davey  became 
Sonny  Boy  is  one  of  those  strange  tales 
for  which  Hollywood  is  famous.  It  is 
part  and  parcel  of  the  bizarre  fabric 
that  makes  the  town  unique.  It  is 
another  case  where  truth  is  stranger 
than  fiction,  where  fact  is  more  potent 
than  fabrication,  where  the  press 
agent's  conception  falls  far  below  par. 
The  real  story  is  saturated  with  shat- 
tered hopes,  with  doubts  and  disap- 
pointments; it  brims  with  heartbreak. 
For  it  is  the  story  of  how  an  older 
brother  was  called,  but  a  younger 
brother  chosen. 

Frankie  Lee  is  the  older  brother. 
Frankie,  the  little  crippled  boy  of 
"The  Miracle  Man" — not  a  real  crip- 
ple, of  course,  just  the  youngster  who 
acted  the  part.  That  was  ten  years 
ago.  Yet  it  left  an  unforgettable  im- 
pression, one  that  survives  to  this  day. 

And  the  tragedy  of  this  story  is  that 
Frankie  was  called  first  for  the  part 
that  made  his  baby  brother  famous. 

But  Frankie  is  now  si.xteen.  He  has 
been   going    to    Hollywood    High    for 

You'll  be  touched  by  little  four- 
year-old  Davey  Lee's  sincere 
playing  of  Al  Jolson's  son  when 
you  see  "The  Singing  Fool."  As 
soon  as  Jolson  saw  Davey  he  ex- 
claimed:     "Come   to   Uncle  Al" 

Of  course  you  remember  Frankie  Lee  as  the 
crippled  boy  of  the  unforgettable  "Miracle  Man." 
Frankie  is  sixteen  now  and  he  goes  to  Hollywood 
High.  The  Warner  Studio,  forgetting  that  boys 
grow  up,  called  him  for  the  role  in  "The  .Singing 
Fool" — but  Davey  walked  right  into  the  part 

several  years.     He  is  tall  and  gangling,  and  he  does  not  even 

remotely  resemble  that  whimsical  Mttle  fellow  with  the  wistful 

smile  in  "The  Miracle  Man." 

Yet  in  the  minds  of  producers  and  directors,  Frankie  Lee  has 

never  grown  up.  He  is  still,  to  them,  "  that  little  Miracle  Man 
kid."  Thus  we  see  how  indelible  was 
the  imprint  of  his  work.  Its  eflfect 
upon  memory  produced  a  picture  that 
cannot  be  erased. 

A  SHORT  time  ago,  Frankie  was 
called  to  take  a  test  with  Lois 
Moran  for  "The  River  Pirate."  William 
K.  Howard  remembered  him.  In  fact, 
Howard  proved  himself  the  e.xception 
to  the  rule  by  actually  daring  to  con- 
sider that  possibly  Frankie  had  grown 
up.  He  wanted  Frankie,  not  for  a 
child  part,  but  for  a  full-fledged  young 
man's  role.  Frankie,  however,  was  a 
little  too  immature,  so  the  part  went 
to  Nick  Stuart. 

But  that  test  put  the  celluloid  virus 
back  into  Frankie  Lee's  blood  with  a 

"  Mother,"  he  said,  "  I'm  all  steamed 
up  and  want  to  get  back  into  the 

So  mother,  in  the  role  of  manager 
once  more,  undertook  to  restore 
Trankie's  career. 

And  here's  where  the  heartbreak 
begins.  Wherever  Frankie  went,  he 
found  himself  surrounded  by  little 
children,  kids  often  less  than  half  his 
size — all  called  for  the  one  part. 

It  was  most  embarrassing. 
[continued  on  page  101  ] 



A  typical  "star"  luncheon,  so  fatal 
to  health  and  happiness,  demon- 
strated by  Josephine  Dunn.  Crack- 
ers, 100  calories;  cottage  cheese,  50 
calories;  consomme,  13  calories; 
pineapple,  50  calories.  Food  fit  for 
neither  man  nor  beast! 



Rather ine  Albert 

Why  the  average 
woman  risks  her 
health  when  she 
attempts  to 
achieve  a  movie 

Unwittingly,  the  producers  are  modern  Shylocks  who, 
when  they  demand  a  pound  of  flesh,  also  demand  a  part 
of  the  life-span  of  the  star;  without  realizing  the  grave 
responsibility  they  assume  the  producers  point  the  way 
to  the  hospital  and  set  an  example  that  threatens  to  pro- 
duce a  race  of  anaemic,  tubercular  weaklings. 



A  satisfying  meal  for  a  girl  who 
wants  to  lose  two  or  three  pounds 
a  week — roast  beef,  baked  potato, 
spinach,  pickled  beets,  cucumbers, 
buttermilk  and  fruit  cup.  Remem- 
ber, you  can't  do  good  work  on  a 
starvation  diet 

DIET!     It  has  put  one  world  famous  star  in  her  grave, 
has  caused  the  illness  of  many  others,  has  wrecked 
careers  and  has  become,  largely  through  its  practice  in 
Hollywood,  the  Great  American  Menace! 
For  as  Hollywood  does  so  does  the  rest  of  the  world. 
It  is  a  grim  problem — this  matter  of  diet — and  it  concerns 
not  only  every  Hollywood  studio  but  every  home  in  the  United 
States  as  well.      High  school  girls  of  fifteen  or  si.xteen,  who  need 
wholesome,  body-building  food,  are  actually  putting  their  lives 
in  peril  when  they  cut  down  their  rations  and  refuse  everything 
but  a  hard  boiled  egg  and  an  ounce  of  spinach,  or  attempt  to 
hve  on  nothing  but  lamb  chops  and  pineapple. 

The  wife  of  the  household  prepares  well  cooked,  savory  meals 
for  her  husband  and  then  nibbles  on  a  few  "health"  crackers 
in  order  to  have  a  sylph-like  figure! 

The  fault  may  be  laid  at  the  doors  of  the  studios! 


OSPITAL  reports  show  that  there  is  more  tubercu- 
losis among  women  than  ever  before  and  that  this  is 
the  direct  result  of  diet! 

The    foremost    physicians    declare    that    they    treat 
thousands  of  cases  of  anaemia.     Diet — a  death's  head 
wearing  the  mask  of  beauty — is  again  responsible! 
The  stars  have  set  the  styles  in  slim  figures. 
The  correct  weight  for  a  girl  five  feet  two  inches  tall  is 
119  pounds.    The  average  screen  player  of  this  height 
weighs  only  108  pounds. 
A  survey  of  all  the  studios  embracing  the  film  plants  of 
Culver  City,   Burbank,   Westwood  and  Hollywood  and  in- 
cluding one  hundred  fifty  of  the  most  famous,  most  envied 
film  celebrities,  resulted  in  the  compilation  of  a  table  of  heights 
and  weights  showing  that  the  players  are  from  ten  to  fifteen 
pounds  underweight,  according  to  medical  standards. 

This  means  that  they  have  starved  themselves  for  pictures, 
for  personal  whims,  or  to  be  fashionable  untU  they  have 
lowered  their  physical  resistance  to  the  danger  point  and  are 
unfit  to  do  the  strenuous,  nervous,  emotional  work  required 
of  them! 

Barbara  LaMarr  died  of  tuberculosis  brought  on  by  weight 
reduction.  Kathryn  Grant  ruined  her  career  and  was  made  an 
invalid  from  starvation.  Lottie  Pickford  took  her  life  in  her 
hands  when  she  resorted  to  quick  reducing  medicines  and  is 
today  virtually  an  invalid.  Eva  von  Berne  collapsed  on  the 
set  after  trying  to  lose  ten  pounds;  Flobelle  Fairbanks,  niece 
of  Doug,  caused  her  family  much  concern  and  endangered  her 
health  by  indulging,  secretly,  in  a  lime  juice  diet.  Lina  Bas- 
quette  has  just  come  out  of  a  gruelling,  enervating  reducing 
process.  Molly  O'Day,  now  one  of  the  most  famous  of  those 
waging  the  battle  against  avoirdupois,  is  convalescing  from  an 
operation  for  the  removal  of  surplus  flesh — an  operation  which 
has  resulted  disastrously  for  others.  Excess  weight  ended  the 
film  careers  of  Clara  Kimball  Young,  Mrs.  Sidney  Drew,  Leah 
Baird  and  Katharine  McDonald. 

The  Menace 



A  girl  may  be  the  reincarnation  of  Duse,  she  may  have  the 
histrionic  ability  of  Bernhardt,  she  may  be  able  to  touch  the  heart 
of  humanitx',  but  if  she  is  five  pounds  overweight  according  to  screen 
standards — that!  for  her  career! 

Why  this  mad  search  for  slimness?    Why  must  the  stars  starve 
There  are  two  reasons. 

According  to  Dr.  H.  B.  K.  Willis,  one  of  Hollywood's  best  known 
physicians  who  daily  turns  down  dozens  of  women  who  beg  to  be 
reduced  quickly,  it  is  a  mistaken  idea  on  the  part  of  the  producers. 
They   think   that   the  public  demands  stream-lines  in  stars  and, 

believing  this,  set  the 
dangerous  example  to 
women  of  the  entire 
world  who  blindly  at- 
tempt to  copy  Holly- 
wood's prevailing 

The  second  reason 
concerns  only  the  pic- 
ture girls  and  no  other 

If  a  practical  stereo- 
scopic camera  lens 
were  perfected  these 
all  too  rigid  diets  would 
be  unnecessary. 

When  a  woman  steps 
in  front  of  the  camera 
she  adds  from  live  to 
twenty  pounds  to  her 
figure.  The  camera 
photographs  but  two 
dimensions.  This  tends 
to  flatten  a  round 
object.  Look  at  a  pipe. 
Then  shut  one  eye.  The 
pipe  immediately 
widens  and  appears 
several  inches  broader 
than  it  really  is. 

Hollywood  may  slowly 
return  to  the  natural 
figure.  Anita  Page,  for 
instance,  is  five  feet, 
two  inches  tall  and 
weighs  118  pounds, 
which  is  a  sane  weight. 
.\nita  prefers  to  follow 
health  charts  rather 
than  camera  lines 


Compiled  by  Dr.  Willis  from  works  of 
the  most  famous  authorities  on  diet 


}^  large  grapefruit 
Scalloped  codfish 
Stewed  tomatoes 
Saltine  crackers 
1  cup  coffee 
1  teaspoon  butter 
1  teaspoon  sugar 



2  large  slices  lean  roast  beef 
Tomato  or  mushroom  sauce 

1  medium  baked  potato 

2  heaping  tablespoons  spinach 

2  heaping  tablespoons  pickled 

8  slices  cucumbers 
1  glass  buttermilk 
1  teaspoon  butter 
1  fruit  cup 



1  slice  cold  roast  lamb 

2  heaping  tablespoons  squash 
Mint  sauce 

1  tablespoon  green  peas 

3  heaping  tablespoons  mustard 

Mediiun  sized  tomato  salad 
Mineral  oil  or  vinegar 

2  small  biscuits 
'  2  cantaloupe 

1  glass  skimmed  milk 




{This  must  be  varied  every  day.    It  will  reduce 
you  from  2  to  i  pounds  per  week) 


This  is  what  the  stars  eat — it's  wrong! 


Hot  water 

000  calories 


8  tablespoons  consomme 

2  saltines 

13  calories 

100  calories 

25  calories 

3-4  pound  tomatoes 


Cottage  cheese 

2  oimces  pineapple 

1  glass  butterrnilk 

50  calories 
50  calories 
67  calories 

305  calories 


1  hard  boiled  egg 

6  otmces  spinach 

100  calories 
100  calories 

605  calories 


How  the   Camera   Lies  About  Figures 

Don't  envy  the  unnaturally  thin  figure  of  your 
favorite  star.  Remember,  that  it  is  usually 
achieved  by  a  dangerous  diet.  In  trying  to  reduce 
her  weight  too  quickly,  Barbara  La  Marr  con- 
tracted tuberculosis.  She  paid  for  her  beauty 
with  her  life 

A  skillful  cameraman  may  arrange  his  lights  so  that  this 
condition  is  helped,  but  only  the  three  dimensional  lens  will 
alleviate  the  necessity  of  the  stars  being  underweight. 

Dr.  Willis  declares  that  it  is  detrimental  to  reduce  more 
than  two  or  three  pounds  a  week. 

That's  a  nice  idea.  A  physician  can  sit  calmly  by  and  make 
this  truism,  but — and  this  is  large  and  vital — when  a  pro- 
ducer sits  back  in  his  leather  chair,  looking  out  across  his 
mahogany  desk  and  says  to  a  girl,  "  You  may  have  the  leading 
role  in  my  ne.xt  super-epic  if  you  will  lose  ten  pounds  in  the 
ne.xt  ten  days,"  what  is  the  girl  going  to  do? 

Before  her  lies  fame  and  fortune,  lu.xury  and  acclaim.  Is 
she  going  to  think  of  her  health?  Is  she  going  to  heed  a 
doctor's  advice?  Not  much!  She  has  heard  the  ullimatum. 
"Lose  ten  pounds  in  ten  days."  A  career  against  her  health. 
The  career  always  wins. 

Twelve  hundred  calories  is  the  minimum  prescribed  by  Dr. 
Willis.  And  this  is  used  only  in  extreme  cases,  for  excessivelv 
fat  women.  The  sensible,  balanced  diet  has  1552  calories  per 
day.  The  average  picture  girl  receives  no  more  than  500 
calories  a  day!  Impossible  for  her  to  do  the  kind  of  work 
required  on  that! 

I  have  seen  Joan  Crawford  make  an  entire  luncheon  on  a 
few  tablespoonfuls  of  cold  consomme,  a  dish  of  rhubarb  and  a 
half  dozen  crackers  thickly  spread  with  mustard.  And  this  is 
a  day  after  day  performance. 


Is  it  any  wonder  that  Joan  is  constantly  under  the 
care  of  a  doctor?  She  knows  that  such  a  diet  is  none 
too  good  for  her,  but  what  is  she  to  do?  She  has  to 
keep  thin. 

Alice  White  reduced  from  126  pounds  to  96  in  a 
few  weeks.  What  a  shock  to  the  nervous  system! 
She  began  by  going  on  a  lamb  chop  and  pineapple 
diet  for  a  few  days  and  then  had  "just  a  sensible 
diet,"  consisting  of  salads  and  fruits  amounting  to 
all  of  400  calories,  no  doubt! 

POL.\  NEGRI  took  off  ten  pounds  with  an  egg  and 
spinach  diet.  Six  ounces  of  spinach  contain  100 
calories,  one  hard  boiled  egg  is  another  hundred.  It 
was  the  critics  who  forced  Pola  to  this  extreme 
measure.  The  Negri  just  won't  be  told  by  pro- 
ducers. She  had  to  be  convinced  and,  when  "The 
Woman  of  the  World  "  was  released,  almost  every 
newspaper  commented  upon  her  excessive  weight. 

Renee  Adoree's  work  in  "The  Big  Parade"  stands 
out  as  one  of  the  classic  gestures  of  the  screen. 
Never  before  or  since  has  she  reached  greater  heights. 
At  that  time  she  weighed  more  than  she  ever  did,  125 
pounds.  The  producers  did  not  complain  then 
because  she  characterized  a  French  peasant  girl,  but 
immediately  that  the  picture  was  finished  they 
insisted  that  she  lose.  A  few  days  ago  the  scales 
pointed  to  97  pounds. 

She  has  paid  dearly  for  an  intensive  course  in  diet 
and  steam  baths  and  mas- 
sage. She  has  paid  with 
illness  and  ragged  nerves. 

Kathryn  Grant 
had  a  beautiful 
figure,  but  she 
was  just  a  little 
too  plump  for  the 
eye  of  the  camera. 
Kathryn  tried  to 
reduce  in  a  hurry. 
Trying  to  undo 
the  mischief  of  a 
foolish  diet,  she 
spent  months  in 
a  sanitarium. 
Today  she  is  an 
invalid  and  studio 
work  is  out  of  the 

Don't   Be   Guided   by  Star  Weights! 

Without  being  given  a  chance  to  show  what 
abihty  she  had,  Dimples  Lido  was  shipped  back 
to  Germany  because  she  gained  weight  that  she 
could  not  seem  to  take  off.  She  was  discovered 
by  Carl  Laeninile  on  the  Riviera  and  brought  to 
Hollywood.  Naturally  bu.xom,  she  added  several 
more  pounds  to  her  figure  and  was  given  her 
conge.  She  might  have  been  the  world's  greatest 
actress — who  knows?  She  might  have  had  the 
subtlety  of  a  Mrs.  Siddons  but  she  was  over- 
weight!   Finis — enough — out! 

Perhaps  Dimples  is  one  of  the  fortunates. 
Better  for  her,  no  doubt,  to  have  been  forced  to 
give  up  her  career  than  to  put  herself  through  the 
rigid  demands  of  diet. 

Eva  von  Berne's  entire  future  rests  upon  just 
ten  pounds.  She  is  only  eighteen  years  old  and  is 
built  along  generous,  continental  lines.  At  the 
time  of  life  when  she  needs  good,  substantial  food, 
she  is  dining  upon  lettuce  salad  and  sliced  pine- 
apple. She  looks  pale  and  haggard  and  her  cry  is 
the  same  as  the  others,  "But  what  am  I  to  DO? 
What  am  I  to  do?" 

PITIFUL,  lovely  Barbara  LaMarr— her  search 
for  slimness  cost  her  her  life.  She  resorted  to 
the  most  drastic  means  of  taking  oft  weight — 
methods  too  horrible  even  to  recount.  This 
struggle  so  depleted  the  energy  of  "the  girl  who 
was  too  beautiful "  that  she  was  an  easy  victim  of 

And  then  there  is  Molly  O'Day!  What  will  be 
the  fate  of  the  O'Day?  A  part  of  the  story  was 
recounted  in  the  August  issue  of  Photoplay,  but 
what  of  this  recent  development?  Molly  is  over- 
weight even  for  a  non-professional.  At  the  begin- 
ning of  "The  Patent  Leather  Kid"  she  was 
twenty  pounds  heavier  than  she  should  have  been 
for  the  screen.  Her  test  showed  acting  ability 
and  she  was  told  that  she  could  play  the  part  if 
she  would  lose  twenty  pounds.  She  did  at  the 
rate  of  half-pound  a  day. 

But  Barthelmess  hurt  his  foot  soon  after  the 
picture  was  started  and  Molly,  playing  opposite 
him,  was  left  at  home  while  the  company  went 
north  for  war  scenes.  Thin  and  svelte  she  was 
when  the  company  left,  as  the  sequence  at  the 
ring-side  showed  her.  But  when  the  troupe  re- 
turned she  was  fat  and  chunky. 

In  discussing  her  case,  Al  Santell,  director  of  "The  Patent 
Leather  Kid,"  said,  "The  real  reason  for  flesh  is  self-assurance. 
Molly  O'Day  was  acclaimed  the  great  find  in  years  and  she 
believed  it.  She  was  sent  away  to  lose  weight  and  finally  a  wire 
came  saying  she  was  thin  and  ready  to  start  a  picture. 
When  she  walked  into  my  office,  she  was  pathetically  fleshy." 

And  then  she  resorted  to  a  drastic  method.    Dr.  Robert  B. 

Why  it  is 


jrous  to  copy 

a  movie  star 

in  fi 

nding  your  correct 



Health  weight 

Star  weight 

5  ft. 

114  lbs. 

96  lbs. 

5  ft.,  1  in. 

116  lbs. 

104  lbs. 

5  ft.,  2  in. 

119  lbs. 

108  lbs. 

5  ft.,  3  in. 

122  lbs. 

Ill  lbs. 

5  ft.,  4  in. 

125  lbs. 

115  lbs. 

5  ft.,  5  in. 

128  lbs. 

1 19  lbs. 

5  ft.,  6  in. 

132  lbs. 

122  lbs. 

Molly  O'Day  is  recovering  from  a  drastic  surgical  operation 

that  removed  the  flesh  that  threatened  her  career.     But 

will  the  fat  return?    And  what  will  be  the  after-effects  of 

this  strenuous  and  painful  treatment? 

GrifBth,  who  claims  that  quick  reduction  is  harmless  (a  large 
part  of  Griffith's  chentele  is  made  up  of  women  who  want  to 
"  take  it  off"  at  any  cost),  performed  an  operation  on  MoUy. 

THE  knife  made  long  incisions  on  either  leg  and  across  the 
stomach  and  the  fat  was  removed.  Electric  needles 
to  melt  the  fat  away  were  used,  also. 

Molly  remained  under  the  ether  for  an  hour  and 
fifteen  minutes  while  the  operation  was  performed.  She 
has  suffered  acutely,  but  the  doctor  assures  her  that 
there  will  be  no  scars  left  and  that  she  wiU  be  from 
twelve  to  fifteen  pounds  lighter. 

Will  there  be  any  ill  etTect  from  this?  WiU  the  fat 
return?  That  remains  to  be  seen.  Al  Santell  believes 
that  the  operation  will  do  no  good,  for  there  is  fat  all 
over  Molly's  body.  She  is  a  splendid  actress.  Her 
director,  her  producer,  her  public  know  this.  But  un- 
less she  is  more  than  sylph-like  her  art  will  be  completely 
wasted.    This  is  the  demand  of  the  screen! 

She  has  high  hopes  now.  Wan  and  convalescent  in 
the  hospital,  she  smiled  and  expressed  the  wish  that  this 
drastic  measure  would  allow  her  to  continue  her  career. 

Some  of  the  stars  are  really  sensible  about  diet.  Mary 
Pickford,  for  instance,  often  takes  the  milk  cure,  pre- 
scribed by  reliable  physicians.  Lillian  Gish  is  prac- 
tically a  vegetarian. 

The  "Miss  Los  Angeles"  of  a  few  years  ago  was 
Kathryn  Grant.  A  film  career  was  assured  when  she 
was  given  a  long   term      [  continued  on  page  113  ] 




By  Cal  York 

Charlie  Chaplin  went  to  a 
Los  Angeles  fight  recently. 
He  saw  Virginia  Cherrill,  a 
blonde  Chicago  visitor  to  the 
coast.  He  signed  her  imme- 
diately for  his  forthcoming 
comedy,    "City    Lights" 

JUST  what  does  it  take  to  be  Charlie  Chaplin's  leading  lady? 
If  you  can  figure  that  out,  you  can  be  Mayor  of  Beverly  Hills  and  dance 
the  first  seven  dances  with  Clara  Bow. 
For  Charlie's  leading  women  have  been  the  sensation  of  Hollywood  and, 
later,  of  the  movie-mad  world.  Hollywood  wakes  up  every  morning,  stretches, 
yawns  and  asks  the  clerk  what  the  latest  quotation  is  on  Chariot's  Lead,  Pre- 

There's  no  answer.    Evidently,  all  a  gal  needs  is  a  lot  of  luck,  all  good. 

Recently  Chaplin  saw  a  Chicago  girl 
named  Virginia  Cherrill  at  a  bo.x  fight. 
Before  you  could  say  Waladek  Sbyszko  she 
was  made  leading  woman  of  "City  Lights," 
his  new  film.  She  probably  didn't  know  a 
Kleig  light  from  an  assistant  property  man, 
but,  P.  S.,  she  got  the  job. 

Of  course,  if  you  are  a  nut  on  hunches, 
believe  in  numerology  and  once  played  the 
Ouija  board,  you  can  go  for  the  '"A"  hunch. 
Look  at  the  list. 

Edn-A,    Lit-A,    Georgi-A,    Mern-A,    and 
now  Virgini-A. 
But  let  that  go. 
Chaplin,  himself,  carried  it  further. 

HERE  are  the  characteristics  he  wants  in 
one  of  his  leading  women — 

Appeal,  adaptability,  ambition,  amiabil- 
ity, and  attractiveness. 

The  ayes  seem  to  have  it. 

Where  other  stars  hem,  haw  and  figure, 
ChapHn  picks  his  girls  out  of  thin  air.  If 
he  knew  of  thinner  air,  he  would  go  to  it. 

If  you  girls  think  you  are  all  broken  out 
with  a  rash  of  "IT,"  don't  bother  about  a 
Chaplin  job.  He  places  physical  appeal  last 
in  his  list  of  qualifications. 

Hear  the  Little  Grey  Clown  himself  on  the 

"To  be  a  leading  lady  for  me,"  says 
Charlie,  "a  girl  must  have  appeal,  but  not 
necessarily  sex  appeal.  She  must  have 
youth,  but  not  necessarily  screen  experience. 

"In  fact,  I  prefer  that  she  have  no  picture 
e.xperience.  Without  it,  she  has  fewer  faults 
to  correct.  She  must  be  adaptable,  too,  in 
order  to  take  direction.  She  should  have 
some  appreciation  of  music  in  order  to  be 

The  very  first  scene  of  Charlie  Chap- 
lin and  his  new  discovery,  Virginia 
Cherrill.  Charlie  says  his  leading 
women  must  have  appeal,  adapta- 
bility, ambition,  amiability  and  at- 
tractiveness. All  A's — and  Virginia 
fills  the  bill.  Charlie's  leading 
women  last  one  picture  and  then 
depart.     But  they're  famous 



'No  Kxperiena  Required 


"To  be  a  leading  woman 
for  me,"  says  Charlie 
Chaplin,  "a  girl  must 
have  appeal  but  not  sex 

susceptible  to  vibrations.  When  one  becomes  absorbed  in  a  part  one 
is  only  a  sounding  board  reflecting  the  play  of  emotions. 

"Also,  a  girl  must  be  ambitious.  Otherwise,  she  will  not  take  her 
work  seriously.  And  to  succeed,  one  must  be  intensely  serious,  par- 
ticularly in  pictures." 

All  the  Chaplin  leading  women  have  possessed  these  qualifications. 

Run  down  the  list.  Edna  I'urviance,  Lita  Grey,  Georgia  Hale, 
Merna  Kennedy  and  now  Virginia  Cherrill. 

NOTE  well  that  there  has  been  something  dramatic — something 
really  romantic,  about  the  bolt  of  lightning  that  has  hit  these 
unknowns,  from  first  to  latest. 

In  1915  Chaplin  went  to  a  dance  in  San  Francisco.  He  didn't 
crave  it,  but  he  went.  There  he  met  a  blonde  girl  from  Lovelock, 
Nevada,  who  was  learning  stenography  in  the  Golden  Gate  town.  He 
danced  with  the  girl,  and  liked  her.     Her  name  was  Edna  Purviance. 

Today  that  same  blonde  girl,  who  never  had  a  written  contract  with 
Charles  Chaplin  in  her  life,  who  received  other  ofTers  and  could  have 
left  him  flat  on  the  lot,  who  never  took  advantage  of  her  position  as  the 
great  comedian's  lead — is  still  on  the  Chaplin  payroll  at  precisely  the 
same  salary  she  enjoyed  during  the  height  of  her  popularity. 

Chaplin's  intimates  say  that  whether  Edna  Purviance  makes  a 
picture  or  never  postures  for  the  camera  again  she  will  still  be  on  that 
salary  list  at  full  pay. 

That's  the  Chaplin  sense  of  loyalty. 

Charlie  first  met  Lita  Grey  when  she  was  doing  an  e.xtra  bit  in 
"The  Kid."  She  was  just  a  spindly  kid  then,  less  than  12.  She  and 
her  mother  both  worked  in  that  one,  and  in  "The  Idle  Class." 

Then,  when  Charlie  began  "The  Gold  Rush"  without  a  leading 
lady  Mrs.  Grey  brought  Lita  over  to  show  the  comic  what  a  big  girl 
she  was  now. 

She  wore  an  organdie  dress,  and  its  simplicity  caught  Charlie's  eye. 
He  made  a  test  of  her,  bundled  in  furs.  After  all,  he  might  need  a  head 
girl  before  the  film  was  through.     The  rest  is  in  the  book. 

GEORGIA  HALE  was  discovered  along  with  Joe  von  Sternberg.  She 
was  the  leading  woman  in  "Salvation  Hunters."  George  K.  Arthur, 
then  a  cocky  little  Britisher  doubling  from  the  grocery  business  into 
films,  wangled  Charlie  into  taking  a  look  at  the  picture. 

That  great  story,  too,  is  in  the  book.  Arthur  got  a  swell  job  w^ith 
Metro-Goldwyn,  and  Chaplin  made  Miss  Hale  leading  woman  in 
"The  Gold  Rush"  after  his  marriage  to  Lita  Grey.  .\nd  Georgia  is 
"_Chaplin's  staunch  admirer  and  friend  today. 

Oddly  enough,  Merna  Kennedy  was  introduced  to  Chaplin  by 
Lita,  who  recommended  her  for  the  lead  in  "The  Circus."  That,  of 
course,  was  pre-war,  before  suits  and  counter-suits  had  turned  Chaplin's 
hair  grey,  and  no  pun  meant. 

The  story  of  Virginia  Cherrill  remains  to  be  told.  Time  will  tell  it. 
The  beginning  is  dramatic  and  romantic.  What  the  end  will  be  is  in 
the  lap  of  the  gods. 

Since  Purviance's  day,  no  leading  woman  for  Chaplin  has  made  more 
than  one  picture.  They  come  and  go,  like  the  seasons  and  the  family 

They  are  not  too  beautiful,  these  children  of  chance.  They  are  with- 
out experience. 

What  to  do,  girls?     Carry  a  rabbit's  foot,  probably. 

And  yet  the  rabbit  .once  had  four  of  them,  and  what  good  did  they 
do  him? 



%e  Studio  Murder 

Two  conflict- 
ing confes- 
sions baffle 
the  Holly- 
wood Police- 
Try  your  skill 
at  solving  the 
crime  and  win 

What  Has  Gone  Before 

Dwight  Hardell,  one  of  the  foremost 
players  of  the  Superior  Films  Company, 
is  found  dead  on  Stage  Six.  Hardell,  who 
has  played  heavies,  has  been  something 
of  a  scoundrel  in  his  private  as  well  as 
his  make-believe  life.  He  has  an  un- 
savory reputation  as  a  ruthless  philan- 

Chief  of  Detectives  Smith  quickly 
takes  over  the  investigation.  The  search 
for  clues  starts.  It  is  revealed  that  Har- 
dell and  Director  Franz  Seibert  left  the 
studio  together  at  12:17  a.  m.  after 
working  together  for  three  hours  on  close- 
ups  in  an  otherwise  deserted  studio.  It 
also  develops  thai  Billy  West,  Seibert's 
■  assistant,  and  Yvonne  Beaumont,  a 
French  actress,  were  in  the  studios  on  the  night  of  the  murder — on 
mysterious  errands  outside  their  film  work. 

The  corotier's  examination  of  Hardell's  body  tends  to  show, 
strangely  enough,  that  the  actor  must  have  died  before  or  shortly 
after  midnight.  The  death  weapon  was  a  rapier  used  in  the  film 
scene.  This  weapon  is  without  finger  prints  of  any  kind,  although 
other  prints  are  found  on  the  murder  set. 

The  investigation  continues.    Now  go  on  with  the  story. 

FOR  a  moment  the  president  sat  looking  back  unblink- 
ingly  into  the  detective's  grey  eyes.  Then  he  said  thought- 
fully, "Four  people  you  say.  Veil,  there  vould  be  Seibert, 
and  Hardell  .  .  .  and  maybe  Billy  Vest,  but  I  do  not 
think  so.    Seibert  sometimes  vorks  absolutely  alone.    Veil,  then 
there  vould  be  Seibert  and  Hardell.     That  is  two.     You  mean 
two  more  besides  them,  then?" 

"I  mean  four  besides  Hardell,   the  murdered  man  .   .   ." 
"You  mean  four  people  vere  mixed  up  in  that  murder? 
You  mean  you  got  four  suspects?" 


"That's  more  like  it,  when  I  identify  the  fourth  .  .  .  who  at 
this  point  is  just  'another  woman',"  returned  Smith. 

"Another  voman.     You  haflf  then  von  woman  already?" 

"Proof  positive  that  Miss  Beaumont  came  out  here  last 
night  to  see  Hardell,  and  evidence  tending  to  show  that  she  . . ." 

He  was  interrupted  by  Rosenthal,  who  made  a  low  moan  of 

"I  could  not  to  believe  it!  You  do  not  know  her!  No,  there 
iss  something  the  matter  vid  your  evidence!"  he  stuttered,  and 
then,  "And  already  ve  are  going  to  star  her!  Already  ve  haff 
bought  a  story,  just  for  her,  and  Bonet  is  to  direct  it!  Ve  haff 
the  news  stories  in  all  the  papers,  last  week,  and  in  all  the  fan 
magazines  .  .  .  ve  haff  our  releases  aU  set  ...  I  tell  you,  Mr. 
Smith,  this  is  terrible!    I  do  not  believe  it!" 

"Sergeant  Clancy  has  the  case  all  cut  and  dried,"  said 
Smith,  grinning  reminiscently.  "To  his  mind  Miss  Beaumont 
is  the  guilty  person.  But  so  far  she  is  really  just  a  possibility." 
Then  he  told  Rosenthal  of  the  note  taken  from  BiUy  West,  and 
written  to  Yvonne. 



"Veil,  and  because  she  writes  a  silly  letter,  you  make  of  her  a 
murderess!     That  man  Clancy  is  a  dumb  bell  ...  a  fool! 
exclaimed  Rosenthal  angrily. 

"Ah  .  .  .  but  .  .  .  there  were  finger  prmts  on  the  set  .  .  .  a 
woman's  fingers  marked  in  blood  on  the  canvas  door  .  .  .  plenty 
of  other  finger  marks  ...  and  when  these  are  matched  up  with 
the  ones  on  the  letter,  I  am  afraid  .  .  .  but,  we  will  go  to  the  third 
party,  a  man  who  wore  rubber  soled  shoes,  bull-dog  grip.  Does 
your  night  watchman  wear  such  shoes.-"' 

ROSENTHAL  held  out  his  fat  hands  protestingly. 
"Mr  Smith,  how  should  I  know  vat  my  night  vatchman 
vears?    I  do  not  look  at  the  feet  of  my  people.    It  is  their  faces 

I  should  look  at!"  ,.   ,.  r  -j     .t  ■„„ 

"Forget  the  question.  I  was  only  thinking  of  identifying 
the  man  .  .  ."  Smith  looked  up  and  smiled.  "But,  such  shoes 
were  certainly  on  that  set!"  He  described  the  trai  left  by 
them,  adding.  "If  the  wearer  of  those  shoes  is  the  murderer  we 
know  that  he  was  on  the  set  for  several  minutes  after  he  killert 

Itluitriiled    by 
C.    A.    BRYSON 

"Billee!  Why  have  you  the  hand- 
cuffs on?"  Yvonne  burst  into  the 
room,  her  grey,  dusky-lashed  eyes 
wide  with  terror,  her  sweet  red 
mouth  quivering.  "Billee!  Talk  to 
me!  1  have  heard  when  I  come  on 
the  lot  that  Dwight  is  murdered! 
Tell  me!  You  .  .  .  didn't."  She 
stopped  and  her  great  eyes,  now 
tear  filled,  questioned  him.  "He 
said  he  did,  Miss  Beaumont,"  said 
Chief  of  Detectives  Smith,  quietly 

Hardell,  or,  he  left,  and  returned  a 
few  minutes  later.  If  this  is  the  man  I 
think,  and  if  the  evidence  of  the  gate- 
man  shows  him  to  have  been  here  in  the 
studio  at  that  time,  he  will  have  to 
have  a  darn  good  alibi.  .  .  .  Now,  as  to 
the  fourth  person.  We  will  call  her 
the  'unknown  woman.'  I  say  fourth, 
but  this  person  may  turn  out  to  be 
the  same  as  the  writer  of  the  note  .  .  . 
Miss  Beaumont. 

OUR  unknown  woman  was  also  on 
the  set  at  the  time  of  the  murder. 
She  either  committed  it,  or  witnessed  it. 
How  do  I  know?    I  shall  have  to  keep 
some  of  these  tale-telling  clues  to  my- 
self, but  you  shall  know  them  all  in 
time.     She  was  frightened  .  .  .  forced 
to    hide,    at    one    time.      Later    she 
must  have  gone  to  the  body  of  Hardell, 
and,    in    an    attempt    to    find    if   he 
were    dead    or    not,    leaned     down 
and   touched    him.       She    got    blood 
on  her  hand,  which  evidently  terrified 
her,  for  she  fled  the  set.     I  know  that 
she-  was  terrified,   and  that  she  fled, 
because  she  left  her  finger  marks,  in 
blood,  on  the  canvas  door.     A  per- 
son in  a  normal  state  of  mind  would 
not   have   done   that.      If   the   finger 
prints  on  the  door,  and  the  ones  on  the 
letter  paper  are  identical  .  .  .  you  see 
what  we  have?     Beaumont.     Also,  other  things  carry  out  the 
theory.    She  was  angry  at  him.     Perhaps  afraid  of  him.    .\ny- 
way,  'furious  because  he  persisted  in  his  attentions.     \  furious 
woman  sometimes  acts  .  .  .  and  thinks  afterwards.     That  the 
murder  was  unpremeditated,  if  committed  by  this  woman,  is 
probable  .  .  .  most  likelv.     She  killed  him.   and  then,  became 
horrified,  and  hvsterical  ...  in  short,  rushed  away. 

"Now,  as  I  said,  we  have  four  suspects:  Seibert,  who  was 
undoubtedly  the  last  man  to  be  with  Hardell  the  night  he  was 
murdcreci;  the  wearer  of  the  rubber-soled  shoes,  who  has  left 
his  bloodstained  evidence  for  all  to  see;  Miss  Beaumont,  who 
wrote  Hardell  that  'tonight  she  would  end  all  between  them." 
(Rather  a  significant  remark,  don't  you  agree?)  And  then,  this 
third  party  ...  a  woman,  from  the  small  finger  prints,  who  .  .  . 
dipped  her  hand  in  Hardell's  life  blood!" 

Abraham  Rosenthal  sat  in  stunned  silence.  Accustomed  to 
visualizing  a  scene  presented  to  him  .  .  .  trained  by  his  pro- 
fession to  put  life  and  movement  into  mere  names  of  persons  .  .  . 
he  was  now  looking  at  this  dim  set,  through  which  dark  and 



''T  was  a  grand  night  for  a  murder,  sor,  as  I  said  to  MacDougal," 
Lanning,  the  night  watchman,  told  Chief  of  Detectives  Smith, 
made  me  rounds  and  near  froze  to  death  with  the  dirty  fog 
creepin'  down  me  back.  Things  began  to  happen.  Whin  I  starts  on 
me  11:30  round  I  sees  a  woman's  figger  runnin'  down  the  women's 
dressin'  rooms.  I  see  it  steahn'  out  of  the  bushes  on  the  West  side 
of  Stage  Six,  and  makin'  for  the  stage  door.  That  was  just  at  mid- 

19  Prizes,  Totaling  $3,000,  Offered  for 
the  Best   Murder  Mystery  Solutions 

sinister  figures  flitted,  and  in  which  a  man  has  been  stabbed  to 
death;  it  was  all  frightfully  real  to  him. 

"  Gott  of  Abraham!"  he  finally  groaned.  "Iss  it  that  all  my 
people  are  murderers?" 

"All  men  are  murderers — yes — Mr.  Rosenthal,"  said  Smith 
soberly.  "There  is  a  time  in  every  human's  life  when  the 
veneer  of  custom  is  thrown  aside  .  .  .  at  least  in  the  mind  .  .  . 
and  in  such  times  the  taking  of  another  human's  life  becomes 
a  possibility  ...  at  least  in  thought!  I  believe  that  a  great 
many  people  have  felt  an  irresistible  impulse  towards  murder! 
To  some  it  may  come  through  a  desire  to  strangle  .  .  .  with 
the  hands.  To  some  it  may  be  an  over-powering  impulse  to 
pull  the  trigger.  ...  I  fully  believe  that  some  men  who  have 
become  murderers  have  only  yielded  to  this  momentary  im- 
pulse .  .  .  and  then  .  .  .  the  thing  is  done.  They  may  never 
have  had  another  such  impulse  in  their  lives.  Might  never 
again  .  .  .  and  yet,  for  the  brief  lack  of  that  control  .  .  ." 

THE  president  of  Superior  Films  shuddered  audibly. 
"No  .  .  .  no.    That  I  do  not  think,  I, myself,  have  never 
felt  like  murdering  anybody.  .  .  ." 

"Think  carefully.  Back  in  those  difficult  days  when  you 
were  climbing  up  from  the  gutter  ...  oh  yes,  I  know  your 
history  .  .  .  when  life  seemed  a-hard  and  bitter  struggle  .  .  . 
when  other  humans  with  money  and  power  seemed  cold  and 
selfish  beasts  .  .  ." 

"  Veil,  mebbe  a  couple  of  times  there  was  low-lifers  I  vished 
vould  die,"  admitted  Rosenthal  naively. 

Smith  smiled,  ".^ndif  you  had  had  those 'low-lifers'  at  your 
mercy,  at  a  time  when  you  resented  their  power,  their  e.xistence, 
most  .  .  .  what  then?  My  theory  is  not  improbable.  Meiiand 
women,  as  they  exist  today,  are  but  the  sum  total  of  the  genies 
of  their  ancestors,  plus  the  variations  and  inhibitions  which 
civilization  has  instilled  in  them!  Take  away  the  inhibitions. 
Man  killed  in  the  beginning,  and  the  only  code  he  had  was 
whether  it  was  right  or  wrong  to  himself!  Today  we  are  living 
under  mass  determinations  of  right  and  wrong,  which  have 
laid  down  a  code  barring  killings,  except  as  safeguard  for  the 
masses.  Yet,  today  as  in  the  leopard  skin  days,  man  thinks 
.  .  .  and  acts  .  .  .  individually!  Instinctively,  he  is  a  killer! 
He  may  go  through  life  without  being  aware  of  it.  He  may  not. 
He  may  be  aware  of  it,  and  draw  away  in  horror  from  the  idea. 
That  is  because  of  his  culture,  up  through  the  ages! 

^^YUWOR  F/tjv^^ 

DAILY  ^'J*  ""'S  DAILY 


The  tell-tale  studio  time  sheet  of  the  murder 

night.    This  plays  an  important  part  in  solving 

the  puzzling  murder  mystery 

"I  have  studied  human  nature  .  .  .  especially  that  human 
nature  which  has  yielded  to  the  killing  impulse  .  .  .  and  I  am 
convinced  that  all  humanity  contains  in  itself  the  impulse  to 
take  life,  should  occasion  arise  that  makes  it  necessary.  Wars 
prove  that.  Murders  prove  that  humanity  contains  this  im- 
pulse, also,  when  occasions  arise  that  create  the  killing  thought, 
even  when  it  is  not  necessary." 

Rosenthal  shivered,  and  shrugged  his  shoulders  as  if  to  shake 
off  the  unpleasant  philosophy. 

"  Veil,  you  haff  had  more  experience  in  that  line  than  my- 
self, certainly  .  .  .  but  I  am  very  glad,  Mr.  Smith,  that  I  do 
not  believe  such  things!  It  vould  make  me  very  miserable.  I 
should  look  at  efferbody  like  they  vas  already  murderers!" 

Smith  smiled,  and  said, 

"  Well,  maybe  it's  a  good  thing  a  lot  of  us  who  have  decided 
ideas  about  things,  don't  go  around  preaching  them  ...  or 
thinking  of  them  all  the  time!  I  assure  you  I  do  not  go  around 
looking  at  people  as  though  they  were  murderers!  Only  .  .  .  when 
I'm  on  a  case  like  this  .  .  .  and  .  .  ."he  pulled  out  his  watch, 
"Clancy  ought  to  be  along  pretty  soon  with  your  watchman." 

Rosenthal  did  not  answer.  Smith  reached  over  and  took  a 
cigar,  and  for  a  little  while  each  man  sat  with  his  own  thoughts. 

There  was  a  knock  on  the  door,  and  Smith  opened  it  to  admit 
Clancy,  propelling  before  him  a        [  continued  on  p.\ge  90  ] 

Rules  for  Studio  Murder  Mystery  Solutions 

1.  Nineteen  prizes,  totalling  $3,000,  are  offered  for  They  must  be  typewritten  on  one  side  of  a  sheet  of  paper 
the  best  solutions  to  the  thrilling  serial,  "The  Studio  and  contestant's  name  and  address  must  be  typed  on 
Murder  Mvsterv. "  This  story  will  appear  in  Photoplay  the  upper  left  hand  corner. 

in  eight  installments.  Thefirsiinstallment  appeared  in  the  4    ^he  nineteen  prizes  wiU  be  awarded  as  follows: 

October,  1928,  issue  and  the  concludmg  mstallment  will  Fir-t  Prize                                      $1  000 

appear  in  the  May,  1929,  issue.     After  the  appearance  Second  Prize SOO 

of  the  March,  1929,  number,  on  February  15th,  1929,  Third  nrize    350 

solutions  to  the  mystery  may  be  submitted  but   not  Fourth  nrize 150 

before  that  date.      All  solutions  must  be  received   by  Five  orizes  of  $100 SOO 

Photoplay  before  midnight  of  March  10th,  1929,  to  re-  -p^j^  prizes  of  $50    500 

ceive  consideration.  The  final  installments  of  "The  Studio 

Murder  Mystery,"  printed  in  the  April,  1929,  and  May,  In  the  event  that  two  or  more  contestants  tie  for 

1929,  issues,  will  solve  the  mystery.     The  full  list  of  any  award,  duplicate  prizes  will  go  to  each  contestant. 

winners  will  be  announced  as  soon  after  the  close  of  the  5    ^11  solutions  must  be  addressed   to   The   Studio 

contest  as  possible.  Murder  Mystery  Editor,  Photoplay,  221   West  57th 

2.  .Awards  will  be  made  according  to  the  accuracy  of  Street,  New  York,  N.  Y. 

contestants  in  foretelling  the  real  solution  to  "The  Studio  5    ^^  solutions  will  be  returned  to  contestants.     No 

Murder  Mystery      as  worked  out  by  the  authors,  the  inquiries  regarding  this  contest  will  be  answered.    Failure 

Edingtons.    Literary  merit  will  not  count.     The  awards  j^  f^iflu  g^g^v  rule  will  invalidate  your  solution.     The 

will  be  made  wholly  upon  the  detective  ability  of  con-  contest  is  open  to  evervone  except  employees  of  Photo- 

testants  in  working  out  the  mystery,  e.xplaimng  how  the  p^^v  and  members  of  their  families.     It  is  not  necessary 

crime  was  committed,  giving  the  reasons  and  naming  j^  ^^  .^  subscriber  or  even  a  purchaser  of  a  single  copy 

the  real  murderer.  ^f    Photoplay.      You    can    consult    copies    in    public 

3.  Solutions  must  be  written  in  200    words    or    less.  libraries,  if  you  wish. 


Here  Are  Winners 

The    Prize    Winners 

First  Prize  $1,500 — Ruby  Album 
Margaret  Myers 

II718  Browning  Ave.,  Cleveland,  Ohio 

Second  Prize  $1,000 — "Starlit"  Wedding 

Mrs.  a.  Lauritzen 

1236  Churchill  Ave.,  St.  Paul,  Minn. 

Third  Prize  $500 — Gilded  Fan 
Bernard  Finkelstein 

1491  St.  Johns  Place,  Brooklyn,  N.  Y. 

Fourth  Prize  $250 — Stage 

Mrs.  J.  Howard  Greene 
Cherrywood  Apts.,  2315  Alice  St.,  Dallas,  Texas 

Fifth  Prize  $125 — Train 
Mrs.  J.  A.  Reisser 

633  Keel  Ave.,  Memphis,  Tenn. 
[additional  prize  \vinners  on  pace  78  ] 

ALL  the  returns  are  in  and  the  judges  have  made  their 
decisions   in    Photoplay's    Fifth    Cut    Picture    Puzzle 
Contest.     Simultaneously   with   the  appearance  of  this 
issue  of  Photoplay  on  the  newsstands,  the  five  capital  and  the 
forty-five  lesser  awards  are  placed  by  Uncle  Sam's  mail  carriers 
in  the  hands  of  the  winners. 

Previous  to  this  published  announcement,  only  the  "Big 
Five"  had  any  inkling  that  their  solutions  were  being  con- 
sidered. This  advance  information  could  not  be  kept  from 
them,  if  their  photographs  and  letters  were  to  be  received  in 
Photoplay's  editorial  offices  and  printed  in  the  same  issue 
with  this  announcement.  But  in  no  instance  did  any  one  of 
the  five  have  the  slightest  clue  as  to  what  rank  his  or  her  entry 
would  take.  So  that  they,  too,  have  shared  in  the  suspense 
as  well  as  the  prize  money  with  the  other  lucky  forty-five. 
When  at  midnight,  September  twentieth,  the  gong  sounded, 
closing  the  entries,  the  work  of  the  judges  began.  Every  entry 
was  carefully  opened,  examined  and  tabulated.    The  number  of 

Fifty   cash    prizes 

awarded   for   cut 

puzzle  solutions 

correct  solutions  ran  into  the  hundreds,  thus  intensifying  the 
labor  of  the  judges.  The  manner  in  which  the  solutions  were 
presented  was  so  varied  and  so  ingenious  as  to  call  for  the 
most  minute  comparisons  and  the  most  careful  consideration. 

THE  preliminary  preparations  required  even  more  time,  since, 
among  the  thousands  of  entries  made,  the  incorrect  ones  had 
first  to  be  sifted  from  the  others.  This  task  was  particularly 
unwelcome  to  the  judges,  inasmuch  as  often  a  splendidly 
presented  solution  had  regretfully  to  be  set  aside  because  of 
one  or  more  errors. 

Among  the  commoner  errors  was  that  of  dropping  the  "e"  in 
spelling  Adolphe  Menjou's  first  name.  Another  error,  though 
perhaps  not  occurring  as  often  as  in  some  of  the  contests  in 
previous  years,  was  the  placing  of  hair  on  the  wrong  head. 
The  male  were  oftener  guilty  of  this  than  the  feminine  en- 
trants, apparently  indicating  that  hair  has  more  significance 
to  a  woman  than  it  has  to  a  man. 

That  Photoplay's  annual  Cut  Picture  Puzzle  Contest  is 
regarded  somewhat  in  the  light  of  a  classic  by  its  readers  is 
evidenced  from  the  fact  that  many  who  fail  to  capture  a  prize 
one  year  come  back  the  next  with  renewed  enthusiasm  and 
determination.  And  in  a  number  of  instances  it  is  a  matter 
of  gratification  to  note  that  ultimate  success  has  crowned  this 
persistent  effort  and  self-confidence. 

Certainly  the  vast  majority  of  contestants — whether  new- 
comers or  veterans — made  a  very  sincere  bid  for  success,  if 
imagination  and  cleverness  in  working  up  a  novel  plan  of  pres- 
entation and  painstaking  care  in  executing  it  are  criteria.  The 
grouping  of  the  solutions  in  the  several  special  rooms  that  had 
to  be  set  aside  to  house  them  was  comparable  to  an  exhibit  or 
bazaar,  international  in  scope,  for  not  only  was  every  section  of 


The  solution  of  Margaret  Myers,  a 
hand  made  Ruby  Album  shown  open, 
and  closed,  won  for  her  the  first  prize 
of  $1,500 



of  $5,000  Contest 

Mrs.  A.  Lauritzen,  winner  of  second 
prize,  $1,000,  with  her  "Starlit" 
Wedding  and  the  correct  pictures 
on  the  lanterns  around  the  garden 

Ihis  country  represented,  but 
Canada,  Mexico  and  even  far- 
away Australia  were  not  back- 
ward in  entering  their  cham- 
pion puzzle  solvers.  Indeed,  with  the  exception  of  Asia,  not  a 
continent  failed  of  representation. 

Our  own  Pacific  Coast,  though  relatively  closer  to  Hollywood 
than  the  rest  of  the  country,  was  not  so  well  represented  as  one 
might  think.  The  Mid-Westerners  were  heavy  contenders,  as 
were  noticeably  some  of  the  Southern  States,  particularly 
Texas.  But  sweeping  the  country  from  north  to  south  and 
from  east  to  west,  not  a  single  state  was  found  that  was  not 
without  a  really  creditable  quota.  As  one  of  Photoplay's 
readers  wrote,  in  submitting  her  entry:  "This  is  not  just 
another  one  of  those  contests;  it's  a  national  institution." 

EVERY  possible  type  of  presentation  seems  to  have  been 
entered.  The  world  of  the  motion  picture  and  the  theater;  of 
business  and  of  invention;  of  adventure  and  of  play;  the  new 
and  the  old;  the  prosaic  and  the  romantic;  the  bizarre  and  the 
commonplace — jostled  each  other.  Here  a  dance  pavilion, 
with  the  faces  of  the  stars  in  the  Contest  gazing  upon  the  scene 
from  the  walls,  there  a  Spanish  galleon;  Charlie  Chaplin  dances 
with  a  fair  charmer;  the  stars  gaze  upon  you  from  chess  and 
checker  boards,  from  packs  of  cards,  from  footballs,  from 
baskets  of  flowers,  from  automobiles,  trains,  steamships,  wind- 
mills, from  books,  fans,  crazy  quilts  and  cushions;  they  dangle 

The    beautiful    Gilded    Fan,    the 

work  of  Bernard  Finkelstein,  won 

for  him  the  third  prize  of  $500 

from  the  neck  of  a  great  toad 
made  of  green  silk;  they  peer 
at  you  from  chests  of  drawers; 
they  ride  in  chariots.  They 
represent  characters  and  events  as  thrilling,  as  romantic,  as 
lovable,  as  fascinating,  as  the  world  of  the  motion  picture. 

Here  in  tabloid  we  catch  a  glimpse  of  the  vast  realm  of  the 
screen.  We  begin  to  understand  something  of  what  it  has  done 
for  the  ideals,  the  emotions,  the  lives  of  us  all.  And  all  this 
packed  away  in  the  scanty  quarters  of  three  rooms! 

The  first  prize — Si, 500 — is  awarded  to  iSliss  Margaret  Myers 
of  11718  Browning  Ave.,  Cleveland,  Ohio,  for  her  Ruby  Album. 

She  writes:  "My  solution  under  consideration  for  a  prize! 
What  news  could  be  better  to  'pep'  me  up  just  now,  while 
convalescing  from  an  illness? 

"It  seems  as  if  I  have  always  been  a  movie  fan — as  long  as  I 
can  remember.  Following  up  all  the  news,  pictures  and  chats 
about  my  favorites  of  the  screen,  I  have  come  to  depend  on 
Photoplay  to  keep  me  well  informed.  The  announcement  of 
the  Cut  Picture  Puzzle  Contest  in  the  June  issue  proved  too 
tempting  to  resist. 

"My  time  is  rather  limited  because  I  work  in  an  ofSce  all 

The  Thirty-Two  Correct  Cut-Puzzle  Answers 


Sally  Rand 
Alice  White 
Alice  Joyce 
Louise  Brooks 
George  O'Brien 
Neil  Hamilton 
Ralph  Forbes 
Harry  Crocker 


Charles  Rogers 
Raoul  Walsh 
James  Murray 
Ramon  Novarro 
Sue  Carol 
Madge  Bellamy 
Nancy  Phillips 
Lois  Moran 


Marceline  Day 
Laura  La  Plante 
Phyllis  Haver 
Ruth  Taylor 
Gary  Cooper 
Adolphe  Menjou 
William  Powell 
Don  Alvarado 


Dolores  Costello 
Greta  Garbo 
Aileen  Pringle 
Estelle  Taylor 
Rod  La  Rocque 
Harold  Lloyd 
Ben  Lyon 
Antonio  Moreno 


Photoplay's    Fifth    Cut    Picture    Awards 

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HARR\  CROCItK      GEORGE  OBRIIIN        \IICI      w  ti  I  T  t       NHL  HAHILTOUt 

v.O»-    '■''^ftTv 

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CI'AFLE>  F06ERS.     n.\MON  NOVARRO       J  \  ^lE  S  M  t  RS?  ^\       FAOUL  WALSH 

OAHY  COOPER    PHVLLfSHftVEfi     WtLl  lAM  POWElt      DON  AtVAR^OO 

This  elaborate  thirty- 
two  compartment 
stage,  one  for  each 
star  in  the  contest,  is 
the  work  of  Mrs.  J. 
Howard  Greene,  and 
was  awarded  the 
fourth  prize,  $250 

day,  besides  managing  our  home  for  dad,  brothers  and  sister. 
So  I  decided  to  use  my  vacation  in  making  an  old  gold  volume 
of  French  design  taken  from  the  Fifteenth  Century." 

In  reply  to  a  telegram  from  Photoplay,  in  which  she  was 
asked  what  she  would  do  in  case  she  won  one  of  the  principal 
prizes,  ]\Iiss  Mj'ers  said:  "I  would  like  to  send  my  sister 
through  college. 

"To  be  able  to  travel,  visit  places  I've  read  about  and  want  so 
much  to  see.     To  continue  studying  music. 

"To  be  able  to  do,  oh,  a  thousand  and  one  things  in  a  future 
as  golden  as  my  book,  with  days  as  shining  as  its  pages — if  I 
should  be  one  of  the  fortunate  ones!" 

THE  second  prize — .§1,000 — goes  to  Mrs.  A.  Lauritzen, 
1236  Churchill,  St.  Paul,  Minnesota,  for  her  solution  pre- 
sented as  "A  Wedding  in  a  Starlit  Garden." 

She  says:  "  Various  contests  conducted  by  Photoplay  have 
aroused  my  interest,  but  not  until  this  latest  one  did  I  decide  to 
submit  an  entry. 

"  I  was  thinking  of  the  various  possibilities  for  settings  for 
these  screen  faces  when  suddenly  the  idea  of  my  'Starlit 
Garden'  flashed  through  my  mind.  Ever  since  I  can  remember 
I  have  loved  to  sew,  dressing  dolls  being  my  specialty,  andsince 
my  husband  is  a  florist,  it  was  only  natural  that  I  should  make 

a  setting  which  would  involve  both  a  knowledge 
of  gardening  and  the  knowledge  of  making  and 
dressing  dolls. 

"  If  I  should  be  one  of  the  prize  winners,  I  know 
exactly  for  what  I  shall  use  the  prize  money. 
My  lifelong  ambition  has  been  to  have  a 
children's  ready  to  wear  shop  combined  with  a 
doll  shop." 

And  this  from  Mr.  Bernard  Finkelstein,  1491 
St.  Johns  Place,  Brooklyn,  New  York,  winner 
of  the  third  prize — S500 — for  his  Gilded  Fan: 

"  On  picking  up  the  July  issue  of  Photoplay  I 
noticed  the  prizes  offered  for  the  solution  of  the 
Cut  Picture  Puzzle  and  decided  to  enter  the  Con- 
test and  when  I  did,  I  certainly  acquired  a  great 
deal  of  knowledge  regarding  the  personalities  of 
the  screen  stars,  and  I  spent  many  hours  at  this 
task  after  a  hard  day's  work  during  the  sizzling 
hot  days  of  last  summer,  cutting,  matching  and 
assembling  the  different  faces. 

"My  son,  who  is  now  attending  high  school, 
will  soon  have  to  enter  college,  and  the  prize  money  would  be  a 
great  help  in  that  direction.  Also,  I  have  a  daughter,  who  is 
five  and  wants  to  take  dancing  lessons,  because  she  wants  to 
play  in  the  movies.  The  prize  money  might  go  a  long  way 
toward  helping  achieve  this  goal." 

THE  winner  of  the  fourth  prize — S2S0 — is  Mrs.  J.  Howard 
Greene  of  the  Cherrywood  Apts.,  2315  Alice  Street,  Dal- 
las, Te.xas.  She  presented  her  solution  in  the  form  of  a  set  of 
theatrical  stages.  She  writes:  "I  have  eagerly  watched 
Photoplay's  Contest  every  year  with  longing  and  it  was  only 
this  year  that  I  could  muster  the  courage  to  try  an  entry. 

"If  I  happen  to  be  one  of  the  fortunate  'Big  Five'  group, 
I  shall  use  the  prize  money  to  advance  my  study  of  art,  which 
I  began  in  schoo'  but  have  never  continued  although  I  have 
always  wished  to.  If  I  am  real  fortunate  I  will  study  interior 
decorating  and  later  open  up  a  little  art  shop  all  my  own." 

Mrs.  J.  A.  Reisser  of  633  Keel  Ave.,  Memphis,  Tenn.,  takes 
the  fifth  prize— $125— for  the  "Starland  Limited." 

Here  is  her  letter:  "Being  a  movie  fan,  I  naturally  buy 
Photoplay  each  month  and  knowing  quite  a  few  of  the  stars  I 
became  interested  in  the  contest. 

"To  say  what  I  would  do  with  the  money  is  impossible,  not 
knowing  which  prize  I  might  be     [  continued  on  page  78  ] 


ft'--'}  * 
























gs  H 







s  ^ 













Here  are  the  stars  in  the  Cut-Puzzle  Contest  riding  in  a  train.    This  novel  solution  was  submitted  by  Mrs. 

J.  A.  Reisser,  and  was  awarded  fifth  prize,  $125 


Ruth  Hairiet  Louise 

(TT^^HY  girls  want  to  go  into  the  movies — just  to  wear  gowns  like 
yy  this.  Carmel  Myers  swishes  around  in  this  creation  of  taffeta  and 
tulle  in  "Dream  of  Love,"  a  picture  originally  called  "Adrienne 
Lecouvreur."  Miss  Myers  plays  a  French  countess  who  gets  all  mixed 
up  in  one  of  those  glamorous  Balkan  romances.  And,  in  "Dream  of 
Love,"  Joan  Crawford  and  Nils  Asther  will  again  share  the  same 



The  picture 
ended  in  a  ques- 
tion mark.  But 
those  in  the 
studio  knew 
what  happened 
behind  that 
closed  door 



TARS  that  Never 

You  remember  him,  don't  you?    A  rare  member  of  that 
curious,   exhilarating,  pathetic  group — the  stars  that 
never  were!    You  remember  him  surely— the  old  China- 
man who  sat  so  silently  in  the  doorway  of  the  joss 
house — in  the  very  last  episode  of  "Other  Gods"?    That  episode 
in  which  the  Oriental  star,  discredited,  slinks  down  the  silent, 
slum  street  and  enters  the  joss  house — and  vanishes. 

You  remember  how  the  old  Chinaman  raises  his  head — and 
stares,  inscrutably,  into  the  passing  star's  face?  And  then  at 
the  very  last,  with  only  a  few  feet  more  to  run — how  he  rises 
suddenly  and  stiffly.  And  whips  out  a  narrow  knife,  from  in- 
side of  his  ragged  garments.  And  follows  the  star  into  the 
joss  house? 

And  how — at  that  moment — the  film  breaks? 

The  critics  called  the  unanswered  question  of  that  ending  a 

bit  of  sheer  art.  They  applauded  the  strange  fatalitv  of  the 
old  Chinaman's  last  gesture.  "A  daring  finale,"  they  said-— 
and  asked,  loudly,  to  see  the  shabby,  bowed  figure  in  other 
pictures.    But  they  never  saw  him  again.    Never. 

Neither,  for  that  matter,  did  they  ever  see  again  the  man  who 
was  the  star  of  "Other  Gods." 

For  the  daring  finale — //  was  not  writlen  into  tlic  script! 
It  just  happened.  .  .  . 

THE  star  had  come  up  out  of  the  darkness  of  Chinatown. 
He  admitted  that,  affably,  when  the  special  writers  ques- 
tioned him.  Furthermore — he  admitted  this,  also,  in  his  care- 
ful, slightly  lisping  English — he  had  not  bought  a  home  in 
Beverly  Hills,  nor  a  house  in  Los  Angeles.  He  still  lived  in 
Chinatown.     And — 


"My  life  upon  the  screen?"  he  said,  very  charmingly.  "It 
belongs,  wholly,  to  the  public.  But  my  life,  among  my  people, 
is  my  own.  .  .  ."  And,  saying  this,  the  dark  curtain  of  his 
race's  inscrutability  shut  down  over  his  eyes.  And  the  special 
writers  were  forced  to  be  content.  For  that  matter  the  special 
writers  rather  liked  his  reticence — although  it  defeated  their 
purpose,  it  was  a  rare  motion  picture  quality!  And  even 
the  public  did  not  object,  too  vehemently,  to  the  mystery  that 
shrouded  one  of  the  Orient.    In  fact,  they  rather  enjoyed  it. 

FOR  the  public  had,  forgetting  race  prejudice  and  religious 
intolerance,  taken  the  star,  who  was  yellow,  to  their  hearts. 
,  They  had  accepted  him,  and  given  him  the  boon  of  their  favor. 
And  the  public,  than  this,  can  go  no  farther! 

And  so,   in   "Other   Gods,"   the  producers   had   planned   a 

lllustratea   by 

Everett  Shinn 

"You  talk,"  said  the 
director,  "as  if  you're 
in  love  with  him. 
Well,  it's  not  healthy 
for  a  girl  like  you  to  get 
crazy  about  a  fellow 
like  him.  Even  if  he 
wasn't  Chinese,  there 
is  nobody  in  Holly- 
wood that  knows  a 
thing  about  him." 
"If  I  am  crazy  about 
him,"  answered  the 
blonde  star  slowly, 
"it's  my  own  busi- 

super  spectacle.  Which — 
because  in  fiction  stories 
inter-racial  alliances  are 
de  trap — must  end  on  a 
note  of  wistfulness. 

You  remember  the  pic- 
ture? But  of  course  you 
do.  How  the  young 
Chinese  boy,  rising  from 
the  gutter,  brings  his 
great  talent  as  an  artist 
into  society.  And  is  ac- 
cepted. And  is  revered. 
And  how,  involved  in  a 
tong  war,  and  a  world 
war,  and  a  romance,  he 
allows  himself  to  be,  at 
last,  beaten.  Rather  than 
to  make  the  golden  haired 
heroine  of  the  screen  un- 
happy. Rather  than  in- 
volve her  in  an  unpleasant 
chain  of  circumstance.  He 
is  the  one — not  she — who 
breaks  their  engagement. 
Do  you  remember  his 
stark,  lonely  face,  in  the 
final  love  scene?  He  is 
the  one  who  goes  stum- 
bling down  a  Chinese 
street,  past  shuffling,  in- 
curious, black  sateen 
coated  figures.  He  is  the 
one  who  reverts  to  type, 
even  in  his  own  shuffling 
walk,  as  he  enters  the  joss 
house — passing  so  close  to 
an    aged,   stupid-eyed 

Chinaman  that  their  garments  touch! 

He  it  is  that  the  aged  Chinaman  suddenly  follows — with  a 

knife  in  his  hand! 

WHEN  they  were  casting  for  the  street  crowd — for  the  joss 
house  set  was  a  built  one,  in  the  studio — the  old  Chinaman 

presented  himself.    With  a  mumbled  word,  in  pidgeon  English, 

at  the  director's  window. 

"Me — "  he  said,  "I  good — actor!" 

The  casting  director  recognized  a  type.     And — 

"Sure  you  are,  big  boy!"  he  agreed,  affably,  and  gave  the  old 

man  a  magic  slip  of  paper — the  magic  slip  which,  to  the  stars 

that  never  were,  spells  open  sesame. 

And  so  the  old  Chinaman  entered  the  studio — and  stumbled 

past  the  wardrobe  room,  and  blinked  [continued  on  page  121  ] 


By  Margaret  E. 

Eleanor  Boardman  used  to  wear  her  hair  long 
and  straight.  It  was  different  and  conservative 
— but  not  becoming.  Now  Eleanor  has  one 
of  those  new  shoulder-length  bobs,  curled  off 
the  face  and  ears.  This  picture  proves  that  a 
good  coiffure  makes  a  pretty  girl  prettier 

The  HoUywoodcn  Santa  Clans 
Distributes  presents  without  pause. 
A  gallon  here,  a  gallon  there, 
His  Klaxon  snorting  on  the  air. 
And  kiddies  hear,  as  midnight  tolls, 
The  busy  humming  of  his  Rolls. 

JOAN  CRAWFORD'S  new  home  in  Brentwood  Park  has 
been  christened  "El  Jodo,"  a  contraction  of  Joan  and 
Dodo,  the  pet  name  of  Doug  Fairbanks  Jr. 

Joan  has  changed  considerably  since  her  engagement, 
or  some  say  marriage,  to  Doug.  The  gay,  dancing  feet  are 
still  and  Joan  is  cooking  and  sewing — yes,  actually — and 
managing  her  home  in  an  economical  manner.  The  other 
day  a  linen  salesman  called  at  the  house  with  his  wares. 

"This,"  he  said,  "is  a  beautiful  tablecloth,  exactly  like 
one  I  sold  to  Mrs.  So  and  So.    The  price  is  $175." 

"Out  of  my  class,"  said  Joan,  "absolutely  out  of  my 
class.    Show  me  one  for  $40  and  sell  the  others  to  Mrs.  So  and 

A  year  and  a  half  ago  Joan  would  have  bought  six  of  the  ex- 
pensive linens  without  the  faintest  notion  of  how  she  could  pay 
for  them. 

TAT'HILE  Ramon  Novarro  was  abroad,  he  visited  two 
of  his  sisters  in  the  Canary  Islands  who  are  now  nuns. 
One  of  them  was  caring  for  an  insane  woman.  Ramon  and 
his  sister  sat  on  a  bench  in  the  arbor.  The  patient  came 
and  peeped  through,  callmg  to  the  nun : 

"Sister,  you  gave  up  this  brother  and  all  your  family  to 
come  here,  didn't  you?" 

"Yes,"  Sister  replied. 

"Then  it  is  you  who  are  crazy  and  not  I." 

IT  is  rumored  that  two  hearts  have  been  caught  on  the  re- 
bound.    The  return  of  Eddie  Sutherland  to  the  Paramount 
fold  to  wield  the  megaphone  in  the  next  Bebe  Daniels  picture 


By  Cal  York 

I-ita  Grey  Chap- 
lin  and  her 
Johnny,  Mr. 
Roy  D'Arcy.  In 
spite  of  a  heavy 
settlement  from 
Charlie,  Lita 
has  gone  on  a 
vaudeville  tour. 
It  costs  money 
to  build  a  big 
house  in  Bever- 
ly Hills.  Roy  is 
waiting  for  one 
of  those  leisure- 
ly California 
divorce  decrees, 
to  ask  Lita  to 
become  the 
second  Mrs. 

International  Nt;wsrt;cl 

is  not  entirely  a  business  arrangement.  Bebe,  whose  engage- 
ment to  Jack  Pickford  seems  at  an  end,  and  Eddie,  who 
recently  received  his  divorce  from  Louise  Brooks,  have  been 
seen  frequently  together  and  the  wise  ones  say  that  Eddie  may 
assume  more  definite  directorial  duties  in  a  matrimonial  way. 

NILS  ASTHER  wins  the  Swedish  herring  for  being  Holly- 
wood's most  perfect  host. 

The  other  evening  he  entertained  a  group  of  friends  in  his 
new  hillside  home.  A  merry  fire  crackled  on  the  hearth,  the 
friendly  smell  of  cigarettes  filled  the  room  and  good  talk  flowed 
freely  along  with  the  coffee. 

Finally,  one  of  us  remarked: 

"Now  if  one  could  only  hear  the  sound  of  rain  against  the 
windows  everything  would  be  perfect." 

Nils  excused  himself  and  returned  a  moment  later.  Suddenly 
the  windows  shook  with  the  sound  of  water. 

He  had  instructed  his  house  boy  to  stand  in  the  garden  and 
turn  the  hose  against  the  side  of  the  house! 

of  All 

J    the 


Oh  her  toes  for 
a  back  flip. 
Esther  Ralston's 
swimming  pool 
is  more  than  a 
mere  ornament 
in  the  yard 
of  her  home. 
When  Esther 
puts  on  a  bath- 
ing suit,  she 
really  swims. 
while  more 
stars  flash  in — 
and  out.  Miss 
Ralston  has  just 
signed  a  nice, 
new  contract  to 
star  in  Para- 
mount pictures 


TOM  MIX  will  not  allow  his  wife  to  get  a  Paris  divorce.  Not 
that  he  objects  to  a  divorce,  so  far  as  we  can  learn,  but 
merely  that  he  thinks  American  courts  are  able  to  handle  any  of 
his  atfairs  that  need  legal  adjustment.  He  politely  returned 
unanswered  the  questionnaire  sent  him  from  the  French  city. 
Incidentally,  maybe  Tom  is  wiser  than  he  appears.  The 
Paris  divorce  would  permit  him  to  marry  at  once.  Likely  he  is 
insuring  protection  against  himself  in  a  weak  moment,  for  under 
a  California  divorce  he  cannot  possibly  be  married  under  twelve 

I  cannot  talk,  I  cannot  sing, 
Nor  screech,  nor  moan,  nor  anything. 
Possessing  all  these  fatal  strictures. 
What  chance  have  I  in  motion  pictures? 

GRETA  GARBO  to  sail  for  Sweden,  willioul  signing  a  new 
contract  with  Metro-Goldwyn-Mayer.     And  she  lets  it  be 
well  understood  that  she  doesn't  know  whether  she  is  coming 

•  i- 

Cinderella  and  her  lucky  slippers.  These  bat- 
tered pumps  were  worn  by  Janet  Gaynor  in 
"7th  Heaven."  And  they  are  Janet's  most 
treasured  possession.  She  makes  a  point  of 
wearing  them,  if  only  for  a  few  minutes,  in 
every  one  of  her  pictures — just  for  luck 

back  or  not,  and  that  she  doesn't  care  whether  she  ever 
makes    another    movie. 

From  some  of  the  stars,  this  would  be  written  off  as  plain 

But  Greta  is  such  a  strange  soul  that  there  is  an  awful 
chance  that  she  might  mean  it. 

Greta  cares  nothing  for  money;  the  lady  lives  in  Spar- 
tan simplicity. 

Fame  hasn't  made  her  particularly  happy. 

AS  for  John  Gilbert,  he  has  signed  with  United  Artists. 
Just  how  things  stand  between  John  and  Greta, 
nobody  knows.  When  John  was  in  New  York,  he  met 
Dorothy  Parker,  one  of  the  wittiest  and  most  attractive 
of  lit'ry  gals. 

And  shortly  after  John  departed  from  the  coast,  Mrs. 
Parker  signed  up  to  write  dialogue  for  M.-G.-M.  Just 
a  lot  of  gossip,  but  there  you  are! 

T  OU  SEILER,  who  is  directing  "The  Ghost  Talks," 
"^a  Fox  talkie,  was  talking  to  a  "culud  gent"  who  had 
been  called  for  a  test. 

(By  the  way,  if  you've  heard  this  one,  stop  me.  Lou 
swears,  however,  it's  the  gospel  truth.) 

"How  are  you  on  lines?"  Lou  asked. 

The  colored  boy  looked  at  him  with  widening  eyes 
before  answering. 

"Boss,"  said  he,  "I  ain't  a-goin'  to  be  in  this  picture 
if  there's  lions  in  it." 

WE  are  beginning  to  understand  why  Jack  Gilbert  could 
nonchalantly  decline  an  offer  of  half  a  million  dollars  a 
year,  now  that  we  know  about  the  money  he  has  made  on  the 

Heretofore  Jack's  business  adviser  has  never  permitted  him 
to  invest  in  stocks  or  bonds,  but  recently  the  rule  was  broken 
and  Jack  was  permitted  to  buy  a  nice  slice  of  Montgomery 

Horrible  effect  of  the  talkies  on  a  dog's  life. 
John  Loder's  pup,  Tangy,  had  a  way  of  follow- 
ing his  master  on  the  set.  When  Loder  went 
into  the  talkies,  Tangy  broke  up  several  scenes 
with  his  barks.  This  invention  silences  all 
growls.    It  doesn't  work  on  supervisors 

Ward  stock  with  the  result  that  he  cleaned  up  several  hundred 
thousand  dollars. 

WHAT  are  the  movie  stars  to  do,  now  that  producers  are 
engaging  the  girls  and  boys  from  the  stage  to  play  in  the 
talkies?  Well,  the  movie  stars  are  getting  right  back  at  them 
by  going  on  the  stage.  Some  of  the  stars  are  trying  vaude- 
ville, where  the  salaries  are  large  but  there  isn't  much  glory. 
Others  are  venturing  into  the  little  theater  companies  in  Los 
Angeles,  where  there  isn't  much  money  but  lots  of  chance  for 
artistic  reclame. 

BROADW.W— that's  a  street  in  New  York— is  hard  on 
movie  stars.  The  dramatic  critics  on  the  local  newspapers 
polish  up  the  axe  and  lay  in  wait  for  them.  The  only  movie 
star  to  get  kind  words  from  the  old  grouches  is  Dorothy  Gish. 
Dorothy  is  playing  with  her  husband,  James  Rennie,  in  a  piece 
called  "Young  Love."  It  isn't  so  much  of  a  play  but  it  has 
established  Dorothy  as  a  stage  comedienne.  The  girl  is  really 

"'W'OUNG  LOVE"  is  not  the  lily-white  play  you  might  expect 
i  from  a  Gish.  In  fact,  Dorothy  has  some  lines  that  are  a 
little  "What  Price  Glory."  This  disquieting  news  must  have 
reached  Lillian  in  Austria,  because  on  opening  night  she  sent 
Dorothy  the  following  cablegram:  "No  matter  what  you  do, 
remember  your  family  still  loves  you." 

However,  Dorothy  is  sitting  pretty.  She  has  been  studying 
voice  culture  for  two  years  and  has  developed  a  splendid 
speaking  voice.  And  so  she  is  all  set  for  the  talkies.  "Either 
that,"  says  Dorothy,  "or  announcing  trains." 

'T^HE  other  day  the  Jap  gardener  was  weeding  the  flower 
beds  next  to  the  offices  of  the  writers  in  the  movietone 
section  of  the  Fox  Studio.  Eugene  Walters,  the  play- 
wright, who  has  gone  movie,  watched  him  for  a  time  and 
then  remarked  laconically,  "Better  watch  out,  Hashamaru, 
you'll  weed  out  a  couple  of  writers  if  you  aren't  careful." 

EVA  VON  BERNE  has  returned  to  Vienna.  There  was  no 
blaze  of  glory  to  mark  her  departure.  She  was  sent  back 
beca"use  she  would  not  be  a  success  in  the  talkies!  She  couldn't 
learn  perfect  English  in  two  months. 

This  mechanical  age  hands  another  wallop 
to  art.  It  takes  no  long  hours  of  practice 
to  learn  to  play  the  Rolmica.  You  simply 
insert  a  roll,  turn  the  crank  and  blow — as 
demonstrated  by  Blanche  Le  Clair 

She  will,  no  doubt,  have  a  chance  to  work  at  UFA  abroad 
but  that  does  not  alleviate  the  hurt  she  feels  at  going  back. 
The  episode  was  as  tragic  as  it  was  avoidable.  Irving 
Thalberg  and  his  bride.  Norma  Shearer,  have  received 
thousands  of  dollars'  worth  of  publicity  from  the  Viennese 

This  is  in  sharp  contrast  with  a  discovery  that  Harry  Rapf 
brought  over,  one  Mona  Martenson,  who  was  given  no  pub- 
licity at  all  and  who,  therefore,  went  back  without  a  heart- 

CLOTHES  that  make  a  noise  with  their  beads  and  bangles 
are  barred  from  talkie  stages. 

A  ringing  bell  sounds  like  a  fire  alarm.  All  bells  must  be 
muffled   in   the   talkies. 

Special  heavy  cardboard  is  put  in  the  panel  of  the  doors 
on  the  set  when  a  knock  is  supposed  to  sound. 

One  of  the  few  noises  that  records  perfectly  is  the  scratching 
of  a  pen. 

In  "Sal  of  Singapore"  one  of  the  most  interesting  sounds 
is  the  beating  of  a  baby's  heart. 

How  doth  the  little  clarabow 
Improve  each  shining  hour? 
By  turning  Brooklyn's  buttercup 
Into  a  passion  flower. 

THE  difficulty  about  Tui  Lorraine's  passport  has  been 
cleared  up.  Tui's  only  claim  to  fame  is  that  she  is  Clara 
Bow's  stepmother,  having  but  recently  married  Clara's 
father.  When  the  marriage  was  announced  immigration 
officials  found  that  the  gal  had  entered  the  country  illegally 
from  New  Zealand. 

But  the  difficulty  is  solved  when  she  goes  to  Mexicalli  and 
returns  under  her  status  as  an  American  citizen,  which  she 
acquired  by  marriage. 

Clara  Bow's  birthday  present  from  her  boss, 
the  Paramount  Studio.  Clara  couldn't  get 
the  picture  in  her  dressing  room,  so  she  gave 
it  to  her  dad.  And  Papa  Bow  is  now  looking 
for  a  house  with  rooms  as  big  as  those  sets  in 
a  society  drama  to  accommodate  it 

With  just  ten  minutes  between  appoint- 
ments, Billie  Dove  eats  a  taxi  luncheon. 
It's  a  good  trick  but  only  recommended  to 
those  who  live  in  communities  with  bump- 
less,  skidless  roads.      Driver,  go  slow! 

MAYBE  the  reason  that  all  the  gals  in  Hollywood  are  mad 
over  Gary  Cooper  is  because  he  is  so  very  mysterious. 
Everybody  wonders  who  is  the  little  blonde  nonprofessional 
seen  with  Gary  at  all  those  quiet  little  restaurants  and  tea  places. 

JIMMY  MURRAY  stole  a  march— a  wedding  march  at  that 
— on  the  film  colony  and  married  a  little  extra  girl  named 
Lucille  McName.  For  five  weeks  the  marriage  was  kept  secret. 
It  occurred,  strangely  enough,  just  after  Jimmy  found  himself 
without  a  contract  at  M.-G.-M.  Are  they  just  an  old-fashioned 
couple  who  believe  that  two  can  live  as  cheaply  as  one? 

I  met  her  on  the  palace  set. 

Her  eyes  with  glycerine  were  wet. 

I  seized  her  hands,  John  Gilbert-fashion, 

And  Vitaphoned  my  deathless  passion — 

And  when  she  whispered  "Yes!"  (the  sweet!) 

I  kissed  her  for  5,000  feet. 

ME,  oh  my!  It  fairly  puts  one  all  out  of  breath  keeping 
up  with  the  affairs  of  some  of  these  HoUyvvooders.  Now 
there's  Merna  Kennedy  and  James  Hall  who,  according  to  the 
newspapers,  are  supposed  to  be  disengaged.  But  somebody 
who  knows  them  told  me  all  this  paper  talk  is  camouflage. 
They  are  scheduled  to  be  married  in  about  three  months,  so 
my  informant  says,  and  it  will  be  very,  very  secret. 

We  understand  also  that  Merna  and  Mamma  Kennedy  are 
not  getting  on  and  that  Jimmy  is  the  bone  of  contention,  but 
the  funniest  one  of  all  is  this: 

MERNA  and  Mrs.  Kennedy,  and  Lita  Grey  Chaplin  and 
Mrs.  Grey  all  live  in  the  same  apartment  house  but  neither 
couple  knows  that  the  other  is  there!  What  a  problem  the 
landlady  must  have  keeping  this  tragic  information  from  the 
various  mothers  and  daughters.  You  remember  it  was  Lita 
who  introduced  Merna  to  Charlie. 

It  is  interesting  to  note,  too,  that  Roy  D'Arcy  also  has  an 
apartment  in  the  same  house.  At  present  Lita  is  on  a  vaude- 
viDe  tour  and  there  are  rumors  of  strife  in  the  Grey  household. 
It  seems  that  mother  and  daughter  have  had  words  concerning 
one  Mr.  D'Arcy. 

By  the  way,  the  two  little  Chaplin  kids  are  too  cute  for 
words — growing  into  right  sturdy  youngsters. 

"D  OLAND  DREW  may  be  called  upon  to  sing  French 
folk  songs  when  he  plays  opposite  Dolores  Del  Rio  in 

The  other  day  he  asked  a  friend,  who  was  anxious 
for  a  role  in  the  new  picture,  "Do  you  speak  French?" 

Said  the  friend,  "Just  in  the  long  shots,  my  boy,  just 
in  the  long  shots." 

MARION  DAVIES  is  back  in  Hollywood,  after  seeing  all 
Europe  had  to  offer.  She  received  the  decoration  of 
Academic  Palms  in  France  and  Pour  Le  Merite  in  Spain,  but 
Hollywood  would  not  be  outdone  in  its  welcome. 

The  first  night  after  Marion's  arrival,  she  was  given  a 
surprise  party  at  the  Ambassador  hotel  that  is  rarely  surpassed. 
The  joint  hosts  and  hostesses  were  Charlie  Chaplin,  Bebe 
Daniels,  Joe  Schenck,  Mr.  and  Mrs.  Sam  Goldwyn,  Mr.  and 
Mrs.  Robert  Leonard,  Harry  Crocker,  Louella  Parsons, 
George  K.  Arthur,  Harry  d'.\rrast,  and  Matt  Moore.  About 
two  hundred  guests  were  present. 

ROD  L.\  ROCQUE  has  announced  his  intention  of  retiring 
from  the  screen.  Some  folks  tell  me  this  may  be  a  case  of 
"sour  grapes,"  but  Rod's  tale  is  much  to  the  contrary.  He 
announces  that  pictures  bore  him  because  of  inartistic  stories 
and  needless  excitement  over  small  details. 

Producers  seem  to  feel,  however,  that  Rod  has  put  too 
high  a  value  on  his  services.  M.-G.-M.  once  asked  him  to 
bring  his  make-up  kit  to  their  lot,  but  the  officials  thought 
SI, 500  a  week  was  about  enough  in  the  way  of  stipend.  Rod, 
having  been  paid  $3,500  a  week  as  a  star  by  Pathe,  naturally 
didn't  cheer  over  the  M.-G.-M.  offer. 

With  other  producers  feeling  much  the  same  way  about  the 
La  Rocque  popularity,  it  is  not  astonishing  to  hear  that  Rod 
plans  to  retire.  He  will  not  need  to  stand  in  the  bread  line, 
however,  as  the  stock  market  has      [  continued  on  page  80  | 


Jonesy's  dream  comes  true 

and  Diane  of  "7th  Heaven" 

becomes  a  film  immortal 

Janet  Gaynor  at  the  age  of 
twelve.  The  World  War  was 
then  in  progress.  About  this 
time  Janet  gained  local  fame 
as  an  elocutionist,  acquired 
reciting  to  sailorsat  the  Great 
Lakes  Naval  Training  Station, 
near  Chicago 

Harry  Jones, 
Janet 's  step- 
father. "Jonesy" 
saw  Janet  always 
as  a  potential 
screen  star.  He 
lived  to  watch  the 
glory  of  the  open- 
ing night  of  "7th 
Heaven,"  when 
his  Janet  stepped 
to  fame  from 
among  the 
screen's  un- 

Simply  and  directly,  Janet  Gaynor  told  last  month  of  her  early 
life.  She  was  horn  in  Gcrmantown,  Philadelphia,  October  6,  1906. 
At  eight  her  father  and  mother  separated.  There  was  a  divorce. 
This  was  the  first  tragedy  of  her  life.  With  her  mother  and  sister, 
Helen,  Janet  moved  to  Chicago.  Janet  spent  her  winters  in  Florida 
with  her  aunt.  These  were  war  days.  Janet  and  her  sister  gave 
recitations  to  sailors  at  the  Great  Lakes  Naval  Training  Station, 
north  of  Chicago.  Janet  began  to  gain  a  little  local  fame  as  an 
embryonic  actress. 

Then  "Jonesy"  entered  the  life  of  the  Gaynors.  He  was  Harry 
Jones,  a  mining  promoter  from  the  West.  Jones  was  married  to 
Mrs.  Gaynor. 

Janet's  step-father  was  destined  to  play  an  important  role  in 
the  future  star's  career. 


Janet  Gaynor  and  George  O'Brien  in  "The  Johns- 
town Flood."  This  was  Janet's  first  dramatic  role. 
She  gave  up  a  regular  S50-a-week  salary  at  Universal 
to  take  it.  It  was  a  venture.  "I  shall  never  forget 
how  hard  I  tried,"  she  says.  "I  was  giving  all  I 
could  to  succeed" 

THOSE  days  under  Jonesy's  protecting  heart  are  very 
sweet  and  fresh  in  my  mind.  Here,  at  last,  were  three 
lone  women  gathered  into  the  warmth  of  a  good  man's 
embrace.  Jonesy  with  his  maps,  with  his  dreams  of 
wealth  when  this  mine  or  that  yielded  its  treasure.  And  they 
never  seemed  to.  His  room  was  stacked  high  with  prospector's 
tools,  with  gauges,  with  blue-prints,  with  books  on  ore.  His 
dreams  of  a  generous  earth  sharing  her  riches  with  him  never 
materialized.    He  lived  in  a  tomorrow  bright  with  promise. 

I  should  not  say  they  never  materialized.  One  dream  did. 
His  blessed  persistent  dream  that  some  day  I  should  be  an 
actress.  "Oh,  Jonesy,  you  silly!  Don't  be  absurd.  I'll  never 
be  an  actress.  One  must  be  very  beautiful  to  be  an  actress. 
Now  look  at  Helen,  she  is  beautiful.  She  should  be  an  actress. 
Anyway,  I'd  rather  be  a  teacher — or  a  lawj'er." 

And  so  I  entered  Poli-Technic  in  San  Francisco  to  finish  my 
high  school  training. 

The  first  summer  I  was  there  I  decided  it  would  be  well  for  me 
to  work.  I  might  as  well  be  self-supporting.  Poor  little  me, 
bashful,  shy,  I  went  out  one  morning  with  a  chum  to  get  em- 
ployment. She  had  a  list  of  three  places  to  which  she  was  to 
apply.  The  first  place  was  the  one  she  took,  without  looking  at 
the  other  two  vacancies.  I  was  to  see  if  I  couldn't  land  one  of 
the  other  jobs.     "You  do  this,  Lolly,  and   do  that,"  she  in- 

So  Far 

as  told  to 

Dorothy  Spensley 


Janet  Gaynor 

structed.     "Don't  be  shy.     They  won't 
bite  you." 

My  first  call  was  at  Frank  Mores'  Shoe 
Shop  on  Geary  Street.  I  was  offered 
eighteen  dollars  a  week,  to  start,  for  ofTice 
work.  It  was  three  dollars  more  than  my 
friend  had  accepted,  so  I  took  it  imme- 
diately. For  three  months  I  worked  at 
Mores'.  I  thought  I  was  terribly  clever. 
And  perhaps  I  was.  I  checked  salary  lists 
and  finally  made  up  the  payroll.  I  de- 
posited company  money  in  the  bank.  It's 
a  wonder  someone  didn't  knock  me  down 
and  step  off  with  the  money.    It  would  not  have  been  difficult. 

Sometimes,  during  a  rush  period  or  at  lunch,  I  would  enter 
the  cashier's  cage  and  take  charge  of  things.    I  felt  very  im- 


Most  of  Janet  Gaynor's 
first  screen  work  was 
done  at  the  Hal  Roach 
comedy  studio.  This 
was  due  to  the  kindly 
interest  of  Molly 
Thompson  of  the  Roach 
staff.  Janet  says  the 
superiority  of  the  other 
girls  simply  floored  her. 
felt  so  immature — 
they  were  most 

Janet  Gaynor  and  her  mother.  Mrs.  Gaynor's 
marriage  to  Harry  Jones  shaped  little  Janet's  career, 
for  it  was  "Jonesy's"  faith  in  his  step-daughter 
that  led  her  to  stardom.  Jones  lived  just  long 
enough  to  see  his  hopes  realized 

portant.  They  raised  my  salary  to  twenty  dollars  a  week.  I 
felt  even  more  important.  I\Iy  self-confidence  increased  in  pro- 
portion to  my  success.  Soon  I  was  answering  the  telephone  in 
the  adjustment  department,  telling  irate  customers  that  their 
shoes  would  be  delivered  immediatel>';  telling  theatrical  stars 
that  the  satin  sandals  would  surely  reach  them  for  the  evening 

No  one  ever  told  me  I  had  nice  eyes.  That  I  should  be  in 
pictures.    Only  Jonesy,  at  home,  said  that. 

SEPTEMBER  came  and  with  it  school  and  soon  I  returned 
to  Florida  for  the  winter.  It  was  that  year — the  family  had 
lived  in  San  Francisco  for  four  years — that  they  decided  to  move 
to  Los  Angeles.  They  took  a  house  in  Hollywood  where  I  came 
on  my  arrival  from  ifelbourne. 

Of  course,  Hollywood  was  a  thrill  to  me.  At  every  turn  I 
embraced  make-believe  land.  The  stimulating  fairy  stories  of 
my  youth  were  alive  in  Hollywood.  One  never  knew  at  what 
corner  one  might  see  the  glamorous  siren  of  last  night's  motion 
picture.  A  gleaming  limousine  might  bear  the  hero  of  today's 
romantic  drama. 

My  life  was  uneventful,  save  for  those  chance  contacts.  I 
entered  the  Hollywood  Secretarial  School,  bent  on  becoming  a 
stenographer.  Helen  was  already  a  tremendously  capable  one, 
commanding  a  nice  salary.  After  a  week  or  two  of  study  I  gave 
it  up.  It  was  too  humdrum.  But  Helen  had  discovered  a  new 
occupation.  She  had  discovered  that  the  casting  oflices  of  the 
studios  were  open  to  her.  It  was  before  the  Hays  organization 
had  formed  the  Central  casting  office.  Casting  was  done  by  the 
individual  studios. 

One  day  I  went  along  with  her  when  she  had  a  call  from  the 
Hal  Roach  Studio.  She  put  my  greasepaint  on,  covered  the  tan 
freckles,  rouged  my  lips,  darkened  my  brows.  I  was  tremen- 
dously thrilled,  and  eciually  as  embarrassed. 

After  that  I  went  the  rounds  of  the  casting  offices  myself, 
bashful,  timid.  I  worked  most  of  the  time  at  the  Hal  Roach 
Studio.     I  felt  the  friendly  interest    [  continued  on  p.-\ge  94  ] 



luH  "^ 


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OUTCAST— First  National 

THIS  picture  is  not  a  million-dollar  production,  such  as 
"The  Divine  Lady,"  but  is  vastly  more  interesting  and 
far  better  acted. 

This  is  the  third  time  "Outcast"  has  been  filmed.  Ann 
Murdock  did  it  first,  to  be  followed  by  Elsie  Ferguson,  who 
had  played  it  behind  the  footlights.  This  time  the  locale  has 
been  switched  from  London  to  San  Francisco  (possibly  to 
save  expensive  studio-built  exteriors),  and  Director  William 
Seiter  has  kidded  virtue  quite  considerably  during  its  length. 

"Outcast"  is  the  story  of  a  rich  young  bachelor  who 
picks  up  a  girl  of  the  boulevards  in  order  to  forget  a  lost  love. 
Then  the  girl  falls  in  love  with  him. 

Corinne  Griffith  makes  a  lovely  Miriam,  her  best  role  in  a 
Ion?  time,  and  Edmund  Lowe  is  excellent  as  the  wealthy 
bachelor,  Geojfrey. 


ADAPTED  from  the  late  Paul  Armstrong's  passably 
popular  stage  play,  this  develops  into  one  of  the  best  of 
the  underworld  avalanche  of  films.  We  credit  this  to 
Irving  Cummings'  taut  direction. 

Briefly,  "  Romance  of  the  Underworld"  is  the  story  of  a 
little  entertainer  in  a  speakeasy  who  raises  herself  to  become 
an  expert  stenographer — and  then  the  bride  of  her  rich 
young  employer.  She  never  tells  him  of  her  early  days,  and 
her  past  comes  up  to  smash  her  happiness,  via  an  unscru- 
pulous gangster.  The  girl  is  saved  by  a  shrewd  detective  who 
helped  her  in  the  old  cabaret  days. 

Mary  Astor  is  good  as  the  ex-speakeasy  charmer,  but  the 
honors  go  to  Robert  Elliott,  as  the  smiling,  gum-chewing, 
cool  Irish  detective.  Even  in  the  face  of  scores  of  under- 
world pictures,  this  stands  out  above  par. 


(ri:g.  u,  s.  pat.  off.)    M  ^ 

A  Review  of  the  New  Pictures 

SINS  OF  THE  FATHERS— Paramount 

NOT  a  "Patriot"  or  a  "Last Command"  and,  of  course, 
not  a  "Last  Laugh" — but  an  eminently  distinguished 
parade  of  prohibition  and  its  evils.  And  it  provides  the 
superb  Jannings  with  great  opportunities  for  the  complete 
characterization  of  another  of  those  mellow  German- 

The  story  is  simple,  if  a  little  slow  of  movement.  Wilkdm 
Spengler  is  a  waiter,  happy  in  his  home  life  and  his  Saenger- 
bund.  He  becomes  the  owner  of  one  of  those  old-fashioned 
restaurants  with  its  gilded  bar.  Prohibition  wipes  aside  his 
small  success  and,  step  by  step,  Spengler  is  drawn  into  the 
army  of  bootleggers.  He  knows  no  other  way  to  maintain 
his  existence  and  that  of  his  son. 

Then  the  son,  just  back  from  college,  drinks  poisoned 
liquor  and  goes  blind.  Thus  the  title.  That  crushes  Spengler 
and  sends  him  to  prison,  a  broken  old  fellow. 

"Sins  of  the  Fathers"  savors  just  a  bit  of  "The  Way  of  All 
Flesh."  There  is  the  same  home  life,  although  Spengler  is 
not  quite  the  social  partner  of  the  bank  worker,  August 
Schiller.  "Sins  of  the  Fathers"  hasn't  the  sharp  emotional 
tug  of  several  Jannings  characterizations,  but  it  is  a  care- 
fully   conceived    and    beautifully    acted   portrayal. 

Ruth  Chatterton  makes  a  vivid  screen  appearance  in  an 
unsympathetic  part  and  her  work  is  intelligent  and  forceful. 
She  is  excellent.  Barry  Norton  gives  a  fine  performance  as 
the  spoiled  son  who  loses  his  sieht. 

Be  sure  to  see  this  film.  It  is  a  worthy  Jannings  eftort, 
which  means  it  would  be  an  extraordinary  picture  for  almost 
anyone  else. 


The  Best  Pictures  of  the  Month 





The  Best  Performances  of  the  Month 

Emil  Jannings  in  "Sins  of  the  Fathers" 

Greta  Garbo  in  "A  Woman  of  Affairs" 

Ruth  Chatterton  in  "Sins  of  the  Fathers" 

Richard  Barthelmess  in  "Scarlet  Seas" 

Betty  Compson  in  "Scarlet  Seas" 

Conrad  Nagel  in  "Red  Wine" 

Robert  Elliott  in  "Romance  of  the  Underworld" 

Casts  of  all  photoplays  reviewed  will  he  found  on  page  124 


DESPITE  the  change  of  title,  despite  the  Hays  ban, 
despite  new  names  for  old  characters,  it  is  still  Michael 
Arlen's  "The  Green  Hat."  And  it  is  corking.  Clarence 
Brown  atones  here  for  his  directorial  sins  in  "The  Trail  of 

The  story  is  a  study  in  emotions.  A  girl  sets  out  to  uphold 
the  wild  reputation  of  her  family  because  the  father  of  the 
man  she  loves  won't  let  him  marry  her.  Her  life  becomes  a 
whirl  of  escapades.  Also  one  tragic  marriage.  Through  it 
all,  however,  she  clings  fast  to  her  first  love.  And  the  beauty 
of  this  love  story  lifts  the  picture  to  exalted  heights  and 
purges  it  of  any  possible  tang  of  sordidness. 

As  Diana,  the  self-sacrificing  heroine,  Greta  Garbo  gives 
her  greatest  performance.  Jack  Gilbert,  in  spite  of  an 
eternal  dress  suit,  plays  the  difficult  role  of  lover  with 
dramatic  repression.  Lewis  Stone  lends  fine  British  dignity 
as  the  family  friend  and  Hobart  Bosworth  makes  a  splen- 
didly austere  English  father  whose  stupid  stubbornness 
wrecks  Diana's  life.  Dorothy  Sebastian,  the  hero's  wife, 
presents  an  interpretation  brief  but  classic.  John  Mack 
Brown  as  Diana's  crooked  husband  blights  his  characteriza- 
tion with  one  over-acted  scene.  Douglas  Fairbanks,  Jr.,  is 
almost  too  wayward  as  the  wayward  son.  Miss  Garbo's 
interpretation  is  all  the  greater  because  she  puts  it  over 
without  a  single  clinging  dress  or  a  single  Garbo  slink.  Those 
who  read  the  story  will  remember  the  heroine's  big  motor 
car.  Also  a  certain  green  hat  she  wore.  Both  are  con- 
spicuous in  the  picture,  though  without  reference  to  the 
color  of  the  lady's  hat. 

SCARLET  SEAS— First  National 

THIS  is  a  picture  of  blood,  brutality,  cave-man  love- 
making  and  drama  that  reeks  with  the  thing  called 
"guts."  The  story  is  typical  deep  water  trader  stuff — hard- 
boiled  skipper  in  love  with  hard-boiled  maid,  mutiny,  booze 
and  murder,  and  in  the  end  regeneration  for  the  rough,  tough 
skipper  and  his  gal.  Betty  Compson  and  Barthelmess  give 
excellent  performances.  Photography  is  splendid,  with  a 
kick  for  those  who  like  full-rigged  ships.  The  picture  grows 
De  MiUe-like  and  "gets  religion"  in  the  middle,  but  the 
Bible  scenes  are  handled  with  a  delicacy  and  humanness  that 
should  hold  any  audience  hushed.  It's  patent,  however, 
that  the  director  never  spent  three  agonizing  days  becalmed 
on  a  tropic  sea  in  an  open  boat,  suffering  the  hell-torture  of 
heat  and  thirst.  On  the  whole,  however,  it's  good  strong 
stuff,  with  plot  variations  that  give  quality. 


HERE'S  a  charmingly  whimsical  little  comedy  that  will 
inspire  intellectual  laughter.  The  slight  story  concerns 
a  perfect  husband  who  is  led  to  a  wild  parly,  becomes 
gloriously  bunned  and  thinks  that  he  has  kept  dates  with 
any  number  of  girls,  when,  in  reality,  it  has  been  a  frame-up. 

The  delight  of  this  simple  yarn  lies  in  the  sophisticated 
direction  of  Raymond  Cannon  and  in  the  faultless  perform- 
ance of  Conrad  Nagel.  Nagel,  himself  an  abstemious  man, 
does  one  of  the  most  perfect  drunk  scenes  we  have  ever 

June  CoUyer  is  attractive  as  the  stay-at-home  wife  who  is 
almost  "wronged."  This  is  rare  entertainment  worthy  of 
comparison  with  Lubitsch  at  his  best.  Dialogue  is  to  be 
inserted  later  and  this  should  help,  too.  You  mustn't 
miss  it. 


Watch  Photoplay's  New  Sound  Reviews 



First  National 

BUDDY  ROGERS'  second  starring  vehicle  is  a  clean,  delight- 
ful comedy  drama  that  any  audience  will  enjoy.  He  is  sup- 
ported by  Mary  Brian,  whose  feminine  charm  becomes  more 
apparent  in  each  picture.  A  young  man  with  honest  intentions 
becomes  the  victim  of  a  fortune-hunting  scheme  of  his  associ- 
ates, and  as  a  result  very  nearly  loses  his  sweetheart.  The 
picture  is  a  story  of  young  and  innocent  love. 

NAUGHTY,  naughty!  Li'l  Alice  White  and  Jack  MulhaU 
make  bad  picture.  Li'l  Alice  White  doesn't  wear  any 
clothes,  just  like  Clara  Bow,  but  that  isn't  the  naughty  part. 
It's  naughty  for  producers  to  bore  you  and  make  you  waste 
the  nicest  evening.  Oh,  there's  a  cloak  room  girl  and  a  rich 
boy.  And  maybe  he  isn't  rich,  but  just  a  badie.  Yes,  he's  rich. 
No,  he  isn't.    Well,  yes,  he  is.    And  what  of  it? 




— Paramount 

THIS  is  the  love  song  of  a  Romanoff  prince  and  princess, 
written  by  Lajos  Biro,  author  of  "The  Last  Command." 
It  rises  above  the  chaos- of  revolution  and  is  drowned  for  a  while 
in  the  clatter  of  post-war  Paris.  It  is  unique  in  that  both  prin- 
cipals are  of  the  same  social  cast.  .  A  perfectly  constructed 
picture,  in  which  Billie  Dove's  acting  is  second  only  to  her 
exquisite  beauty.     Stimulating  entertainrfient. 

THE  combination  of  Zane  Grey  and  Jack  Holt  means  good 
he-man  opera — and  this  picture  is  no  exception.  Holt  is  a 
"square"  gambler  who  goes  crooked  in  order  to  send  his  younger 
brother  to  college.  Baclanova  all  but  takes  the  picture  with  her 
splendid  work  as  a  dance  hall  girl  in  love  with  Holt.  John 
Darrow,  as  the  younger  brother,  and  Doris  Hill  as  the  girl  sweet- 
heart, are  both  good.    A  high-class  Western. 





THIS  is  about  a  gal  who  needs  to  know  the  ways  of  men.  It's 
by  Booth  Tarkington,  and  light  and  funny.  Marion  Nixon 
is  the  gal,  and  Eddie  Quillan  the  industrious  youth  who  under- 
takes her  education.  Gaston  Glass  is  the  man  she  needs  to 
know  about.  The  plot  doesn't  matter.  A  cafe,  liquor,  laugh- 
ter, a  raid,  jail,  then  the  girl  and  the  right  young  man  find  their 
love.    It's  good — and  watch  Eddie  Quillan. 


ONE  of  those  depressing  affairs  of  abused  prisoners  in  a 
tropical  penal  institution.  The  cruel  governor  wants  to 
marry  the  daughter  of  one  of  the  prisoners.  She,  however,  has 
a  weakness  for  a  handsome  young  prisoner  who  is  about  to  be 
paroled.  When  the  horrid  villain  discovers  this,  he  cancels  the 
parole  and  has  her  lover  led  to  the  guillotine — only  then  to  dis- 
cover it  is  his  long  lost  son!     Can  you  bear  it? 

for  the  Latest  Talkie   Developments 





JFARRELL   MacDONALD'S   first    starring   vehicle   is   an 
.episodic  account  of  the  adventures  of  a  Quixotic  policeman 
sent  to  Europe  to  bring  back  a  young  embezzler. 

Riley  and  the  boy  are  dear  friends  and  the  lad  manages  the 
trip  for  both. 

MacDonald  gives  a  real,  honest  characterization,  which  is 
all  that  can  be  said  for  the  picture. 

The  obvious  gags  are  lacking — thank  heaven — but  in  spite  of 
this  the  picture  is  a  bore. 

THIS  is  the  first  all-color  sound  picture.  It  brings  to  the 
screen  a  historical  romance  dealing  with  the  discovery  of 
America  by  Lief  the  Lucky,  son  of  Eric  the  Red,  ruler  of  Green- 
land's hardy  Norsemen.  It  is  vital  drama  against  a  back- 
ground of  tapestry-like  beauty  made  possible  through  recent 
improvements  in  color  photography.  Pauline  Starke,  in  the 
role  of  heroine,  is  a  provoking  armful.  This  is  the  first  full- 
length  color  film  since  Fairbanks'  "The  Black  Pirate,"  so  tlon't 
miss  it. 

[  AdJiiional  reviews  of  latest  pictures  on  page  92 

Sound  Pictures 




A  WARD — Fox-Movietone 

"/^N  TRIAL"  was  one  of   the  dramatic  successes 

of  the 
'stage,  and  the  cinema  version  is  one  of  the  best  talking 
pictures  made  to  date.  Elmer  Rice,  the  author,  did  a  daring 
thing  with  the  play  when  he  conceived  the  idea  of  portraying  an 
entire  murder  trial  and  using  for  his  stage  technique  the  movie 
flashback.  By  this,  all  the  related  incidents — childhood,  court- 
ship, every  action  leading  to  the  crime — were  introduced.  The 
result  was  a  sensation.  By  the  same  means  the  all-talking 
picture  becomes  tremendously  effective  as  we  see  the  past  and 
present  and  are  moved  by  the  voices  of  the  characters. 

The  story  opens  in  a  court  room  on  the  first  day  of  a  murder 
trial.  The  accused  was  the  friend  and  debtor  of  the  murdered 
man,  and  has  confessed  to  the  crime.  Nevertheless,  the  testi- 
mony goes  on  and  unfolds  a  great  dramatic  story. 

Pauline  Frederick  is  the  featured  player  and  it  marks  her 
introduction  to  the  talking  pictures.  She  is  supported  by  an 
unusually  fine  cast,  including  Bert  Lytell,  Lois  Wilson,  Holmes 
Herbert,  Jason  Robards,  Richard  Tucker  and  others.  Also 
Vondell  Darr,  a  little  girl,  gives  a  beautiful  performance. 

.'\rchie  Mayo  is  not  a  new  director,  but  this  definitely  places 
him  in  the  class  of  those  who  know  how  to  direct. 

See  this  at  your  earliest  opportunity. 

HERE'S  a  picture  of  real  interest  to  Photoplay's  readers 
because,  for  the  first  time,  you  may  see  and  hear  the 
results  of  your  voting  for  the  best  picture  of  the  year.  And  this 
3'ear,  the  Gold  Medal  Presentation  was  a  transcontinental 

James  R.  Quirk,  editor  and  publisher  of  Photoplay,  tele- 
phones from  his  office  in  New  York,  to  Winfield  Sheehan, 
production  head  of  the  William  Fox  Company,  at  the  Fo.x 
Studios  in  Hollywood. 

Mr.  Quirk  notifies  Mr.  Sheehan  that  "7th  Heaven"  was 
voted  the  best  picture  of  1927  by  Photoplay's  readers.  That's 
the  scenario. 

And  to  furnish  the  happy  ending,  an  airplane  pilot  delivers 
the  Gold  Medal  to  Mr.  Sheehan  at  the  conclusion  of  the 

This  is  the  first  time  that  the  Gold  Medal  Award  has  been 
recorded  in  a  newsreel.  And  so  readers,  whose  careful  and  con- 
scientious voting  has  made  this  award  such  a  high  honor  in  the 
film  world,  will  be  interested  to  see  and  hear  the  actual  cere- 

Out  of  modesty,  both  Mr.  Sheehan  and  Mr.  Quirk  declined 
to  accept  "best  performances." 

'  Additional  reviews  of  sound  pictures  on  page  93  . 


r^UPPOSE  you  made  mental  whoopee  by  playing  a  game  of 
^^  A  dominoes  with  a  celebrated  author.  Suppose  you  woke  up  the 
(_^  next  morning  to  find  yourself  famous.  Suppose  you  thus  be- 
came the  living  Hollywood  symbol  of  a  Great  Mind.  What  would  you 
do?   Yes,  that's  what  Aileen  Pringle  does.    But  what  do  protests  get  her? 


What  Do 
You  Mean- 

Aileen  Pringle  has  been 
tagged  "the  darhng  of 
the  inteUigentsia"  but, 
gosh,  how  she  hates  it! 

By  Katherine  Albert 

WHEN  Aileen  Pringle  hears  the  word  "intel- 
lectual" something  curls  up  inside  her  like 
a  permanent  wave. 
You'd  writhe,  too,  if  you  were  tagged  "the 
darling  of  the  intellectuals."  Suppose  you  were  twenty- 
four-sheeted  as  the  wittiest  woman  in  Hollywood?  Put 
yourself  in  Aileen's  place,  if  you  can.  Think  how  you'd 
feel.     So  does  Aileen — the  victim  of  a  phrase. 

Suppose  you  made  mental  whoopee  by  playing  an 
innocent  game  of  dominoes  with  a  gentleman  who 
happened  to  be,  in  addition  to  a  bum  domino  player, 
one  of  the  finest  writers  of  fiction  in  America.  Then 
suppose  you  woke  up  one  morning  to  find  yourself  all 
over  one  of  the  country's  biggest  periodicals  as  having 
been  the  domino  partner  of  a  literary  bonfire?  You'd 
feel  badly  about  it,  too,  just  as  you  would  if  you  had 
been  caught  playing  stud  poker  for  matches  with  your 

Suppose,  on  a  sweltering  day,  you  remarked,  "Well,  is 
it  hotenoughforyou?"  What  would  happen?  Practically 
nothing.  Yet  if  Aileen  Pringle 
were  to  crack  this  chestnut,  all 
Hollywood  would  be  whisper- 
ing, in  a  half  hour,  that  the 
First  Wit  had  slipped. 

You  can  add  "like  olives," 
when  anyone  mentions  an 
acquired  taste,  without  blush- 
ing. Can  Aileen?  Not  by  a 
jugful  of  split  infinitives!  She 
has  a  reputation  to  sustain. 
She  can  never  indulge  in  a 
[continued   on  page  105] 

Aileen  Pringle  isn't 
a  social  lion  chaser. 
She  makes  no  effort 
to  be  known  as  the 
pet  of  the  typewriter 
pounders.  She  just 
likes  'em.  "I  like  the 
people  I  like,"  she 
says.  "One  doesn't 
have  to  be  clever 
with  clever  people" 





of  a 


Wherein  Mr.  Nagel 
proves  that  a  "phonetic 
voice"  may  be  just  as 
important  as  a  photo- 
graphic face 

By  Mark  Larkin 

SEATED  at  a  luncheon  table  on  the  screened  porch  at 
"The  Masquers,"  which  is  to  Hollywood  what  "The 
Lambs"  is  to  New  York,  Conrad  Nagel  told  me  that  talk- 
ing pictures  have  brought  out  a  new  kind  of  personality — 
the  personality  of  voice. 

"Not  that  we  haven't  had  voice  personality  before,"  he  ad- 
mitted, "but  we  have  never  been  so  acutely  conscious  of  it. 
"Did  you  ever  stop  to  consider  how  great  a  bearing  upon 
personality  the  voice  has?  Think  of  the  various  persons  you 
have  met,  consider  how  their  voices  intluenced  you.  A  stranger, 
for  instance,  in  a  group  of  people:  You  have  never  heard 
him  speak,  you  know  nothing  of  the  sound  of  his  voice.  In  out- 
ward appearance  and  general  characteristics  he  is  inconspicuous. 
Perhaps  he  is  under-sized,  plainly  garbed,  or  otherwise  un- 
impressive. But  suddenly  he  speaks.  You  are  startled.  Your 
whole  impression  of  his  character  changes.  He  may  rise  in 
your  estimation,  he  may  submerge.  At  any  rate,  his  voice 
has  affected  you — its  vibrant  pilch,  its  magnetism,  or  possibly 
the  lack  of  these  qualities — has  crystallized  your  opinion.  Had 
he  remained  silent,  had  he  gone  out  of  the  room  without 
speaking,  you  would  have  retained  your  original  impression — 
good  or  bad,  as  it  happened  to  be.  His  voice  personality, 
however,  is  what  fixed  your  idea  of  the  man. 


"And  so  it  is  with  the  screen  player  appearing  in  talking 
pictures  today.  His  voice  personality  will  be  largely  responsible 
for  his  success." 

There  is  probably  no  one  in  Hollywood  better  qualified  than 
Conrad  Nagel  to  discuss  the  influence  of  voice  upon  personality. 
It  so  happens  that  the  quality  of  his  own  voice — its  "phonetic 
value"  as  the  director  of  talkies  woiddsay  — has  brought  about 
a  phenomenal  increase  in  the  Nagel  popularity.  In  fact,  since 
the  advent  of  cinema  conversation,  Conrad  Nagei's  daily 
fan  mail  has  increased  twelvefold.  Whereas,  in  the  past  he 
could  carry  it  in  his  two  hands,  he  now  finds  it  impossible  to 
carry  the  daily  grist  of  letters  in  his  two  arms. 

"But  do  not  get  the  impression,"  he  hastened  to  explain, 
"that  all  you  need  to  achieve  talking  picture  success  is  a  good 
voice  or  voice  personality.  Far  from  it!  The  talkies  levy  the 
most  e.vacting  tax  upon  ability  that  has  yet  been  placed. 
And  for  that  reason,  players  from  the  legitimate  stage,  with 
their  wider  e.x'perience,  are  signally  successful  in  the  speakies." 

For  this,  it  seems  there  is  one  outstanding  reason. 

"Actors  and  actresses  who  have  had  screen  experience 
only,"  Nagel  explained,  "are  not  schooled  in  maintaining 
audience  tempo.  A  screen  scene  that  runs  one  hundred  feet 
is  a  long  scene.     Yet  it  passes  [continued  on  page   113] 














Ruth  Harriet  Louise 

^^N  the  opposite  page  you  will  find  a  story  on  "voice  personality."  The  speaker  is 
fy  Conrad  Nagel.  He  tells  you  that  many  people  are  afraid  to  speak  correct  English, 
^"^  because  they  might  be  accused  of  putting  on  airs.  And  he  predicts  that,  just  as  the 
screen  has  given  us  a  new  standard  of  personal  appearance,  so  will  it  improve  the  quality 

of  our  speech. 

Don't  try  to  wear  a 
helmet  hat  with  a 
strap,  unless  you 
have  a  well-shaped 
chin  —  and  only  one. 
This  Lewis  hat  is  of 
gray  felt.  With  it, 
Marion  Davies  wears 
a  gray  cloth  coat, 
from  Jenny,  with  a 
wide  collar  of  white 
fox  flecked  with 
black  tips 

The  trousers  of  this 
Lelong  lounging  cos- 
tume are  almost  as 
wide  as  a  skirt.  The 
pajamas  are  of  white 
satin,  made  all  in  one 
piece.  And  the  coat 
is  black  velvet  with 
large  white  dots  and 
edged  with  white 


Some  Paris  cos- 
tumes that  show 
the  excellent  taste 
of  Marion  Davies' 
personal  wardrobe 

This  Jenny  evening  coat  is  of  thin,  shim- 
mering gold  cloth,  with  an  interwoven 
design  of  blue  and  gold.  Around  the  un- 
even hem  is  a  narrow  fringe  of  gold  .beads. 
It  has  a  collar  of  silver  fox.  With  it,  Miss 
Davies  carries  a  flat  gold  bag  from  Milgrim 

that  Speaf 

Fren  ch 

Marion  is  most  charming  in  this  Lelong 
eveping  gown  of  white  lace.  Like  all  good 
evening  dresses,  it  has  a  decided  dip,  with 
a  tight  waist-line  and  a  bit  of  fullness  at 
the  hips.  The  waist  is  bolero  effect,  plain 
in  front  but  full  and  dipping  at  the  back 

Another  youthful  evening  gown — this 
one  from  Lanvin.  It  is  oyster  white  satin, 
and  here  and  there  on  the  full  skirt  are 
medallions  of  pearls  and  brilliants.  A 
jewelled  band  falls  from  the  high  neckline 
to  the  edge  of  the  ankle-length  skirt 



























There's  a  dash  about  this  Callot  creation  that 
suggests  a  Russian  military  coat.  It  is  three- 
quarters  length,  with  a  tight-fitting  back  and 
flaring  skirt.  The  color  is  ash  rose,  embroid- 
ered in  gold,  and  luxuriantly  trimmed  in  sable 





(^"T^ARKY  NORTON'S  parents  wanted  him  to  enter  the  diplomatic  service 

/^  of  his  native  country,  the  Argentine.     Barry  wanted  to  see  the  world  before 

continuing  his  studies.    In  the  course  of  his  travels  he  arrived  in  Hollywood.    In 

the  story  on  the  opposite  page,  you  will  find  Barry's  own  account  of  how  he  broke 

into  the  movies. 

Office  Boy 

Makes  Good 

Who  says  that  the  modern 
boy  has  no  spirit  of  adven- 
ture? Read  the  lively 
story  of  Barry  Norton's 

By  Cal  Yo7-k 

Casting  directors  told  him  he  "wasn't  the  type." 

They  advised  him  to  go  home.     But  when  the 

public  saw  him  in  "What  Price  Glory,"  it  voted 

him  very  much  the  type.   So  he's  staying 

Alfredo  Biraben  —  at  the  age  of 
four.  This  photograph  was  taken 
in  Buenos  Aires,  where  Alfredo  was 
born.  You  know  him  now,  of 
course,  as  Barry  Norton 

THREE  years  ago  he  was  Douglas  Fairbanks'  office  boy. 
Today  he  is  one  of  Hollywood's  best  actors. 
Tomorrow — do  we  dare  predict  about  tomorrow?     In  Barry  Norton's 
case,  yes,  for  tomorrow  is  rich  with  promise,  the  promise  of  stardom  for 
this  lad,  despite  the  fact  that  three  years  ago  it  was  a  big  day's  work  when  he 
opened  the  Fairbanks  mail. 

Alfredo  Biraben  rebelled  at  the  idea  of  being  a  diplomat,  and,  because  of  that, 
Barry  Norton  became  an  actor.  You  see,  Alfredo  Biraben  and  Barry  Norton 
are  one  and  the  same.  At  the  age  of  nineteen,  Alfredo,  living  in  Buenos  Aires, 
the  city  of  his  birth,  found  Fate  and  Firpo  in  a  conspiracy  tc  shape  his  destiny. 

That  was  five  years  ago. 

Firpo,  if  you  remember,  came  from  the  tall  grass  of  his  native  country  to  the 
city  of  New  York  to  battle  Jack  Dempsey,  then  world's  leading  leather-pusher. 
And  accompanying  Mr.  Firpo — or  at  least  hovering  close  enough  to  reflect  his 
glory — were  twelve  snappy  young  Argentine  lads,  all  about  twenty,  constitut- 
ing themselves  his  rooting  section.  They  were  eager  to  see  the  Wild  Bull  of  the 
Pampas  knock  the  Dempsey  block  loose  from  its  moorings,  and  it  was  no  fault 
of  theirs  that  he  failed. 

In  South  America — particularly  in  the  Argentine — education  is  dispensed 
quite  differently  from  methods  emplo\ed  in  our  good  old  U.  S.  A.  Many 
educators  claim  the  South  American  systems  are  more  thorough,  which  is  a 
point  we  will  not  argue.  At  any  rate,  these  twelve  young  men  had  reached 
that  period  in  their  education  where  they  were  to  decide  upon  various  and 
sundry  life  callings,  and  to  pursue,  thereafter,  specific  training  for  their 

But  Barry  Norton  had  not  been  allowed  to  choose  his  career.  His  parents 
had  done  it  for  him  and,  unfortunately,  their  selection  had  not  pleased  the  lad. 

His  father  was  a  government  geologist  who  had  dreamed  of  diplomatic 
service,  and  he  was  an.xious,  therefore,  to  see  the  dream  fulfilled  in  the  chosen 
work  of  his  son.    And,  too,  it  was  the  earnest  wish  of  his  mother. 

But  the  boy's  leaning  was  toward  architecture. 

So  he  looked  with  gloom  upon  the  prospect  of  returning  to  the  Argentine. 

" I  had  my  passage  home,"  he  said,  "in  fact,  it  is  still  rotting  in  the  oflice  of 
the  Argentine  consul  of  New  York.     In  addition      [  continued  on  p.^ge  96  ] 


John    Gilbert    was    given    four    best    per- 
formances during  1928,  in  "Four  Walls," 
"The  Cossacks,"  "Man,  Woman  and  Sin" 
and  "Masks  of  the  Devil" 



INETEEN  TWENTY-EIGHT  will  go  down  in  iilm 
history  as  the  year  of  the  talkie. 

The  advent  of  the  synchronized  sound  picture  has 
dented    the    Hollywood    histrionic    ego  in    no  mean 
Instead  of  newi  personalities,  we  have  new  methods 

of  reproducing  sound. 



Frederick  James  Smith 

Summary  of  1928— Fif- 
teen stars  and  players 
scored  more  than  one 
best  performance 

Right  now  Hollywood  is  looking  for  young  women  with  the 
IT  of  Greta  Garbo  and  the  voice  of  Julia  Marlowe.  Young 
actors  with  the  appeal  of  Rudy  Valentino  and  the  enunciation 
of  Walter  Hampden  can  get  a  job  any  time  in  the  celluloid 
capital.  Since  none  of  these  combinations  have  been  found 
yet,  the  sound  pioneers  may  be  said  still  to  own  their  complete 
set  of  worries. 

Out  of  all  the  hysteria  of  synchronization  just  one  personality 
has  emerged — Al  Jolson.  There  are  no  other  big  dialogue-and- 
song  hits  yet. 

One  new  silent  star  climbed  into  the  firmament — Joan 

It  has  not  been  a  very  successful  year  for  the  old  line  lumi- 
naries, such  as  Mary  Pickford,  Doug  Fairbanks,  Norma  Tal- 
madgeandLon  Chancy.  Pola  Negri  has  withdrawn  from  view. 

Baclanova  and  Camilla  Horn  top  the  new  and  glamorous  per- 
sonalities. K  little  further  back  we  have  Lupe  Velez,  waiting  a 
real  opportunity  to  flash. 

George  Bancroft 

"Docks  of  New  York" 

"The  Draft  Net" 

Richard  Barthelmess 

"The  Noose" 
"Wheel  of  Chance" 

Betty  Compson 

"Docks  of  New  York" 
"The  Barker" 

Gary  Cooper 

"Legion  of  the  Condemned" 
"Beau  Sabreur" 

Joan  Crawford 

"Four  Walls" 
"Our  Dancinft  Daughters" 

Marion  Davies 

Louise  Dresser 

Greta  Garbo 

Janet   Gaynor 

Jean   Hersholt 

'The  Cardboard  Lover" 
"The  Patsy" 

"Mother  Knows  Best" 
"His  Country" 

"Mysterious  Lady" 
"The   Divine  Woman" 

"Street  Angel" 
"Four  Devils" 

"Jazz  Mad" 
"Abie's  Irish  Rose' 


Film  Year 

The  big  five  in  popularity  are  still  John  Gilbert,  Emil 
Jannings,  Greta  Garbo,  Clara  Bow  and  Harold  Lloyd. 

Janet  Gaynor  climbed  a  little  closer.  Pretty  soon  she  may 
be  one  of  the  big  si.\. 

The  comedians  have  had  a  tough  year.  Charlie  Chaplin 
and  Harold  Lloyd  maintain  their  preeminence,  but  such  comic 
figures  as  Buster  Keaton,  Harry  Langdon  and  Doug  MacLean 
have  passed  into  eclipse.  In  Langdon's  case  it  has  been  a  total 
eclipse,  observed  in  all  parts  of  the  Northern  Hemisphere. 

The  year  ran  chiefly  to  one  style  of  story — underworld. 

The  screen  was  surfeited  with  Russian  stories,  chiefly  phony, 
and  there  was  an  avalanche  of  sea  films.  War  pictures,  mostly 
of  aviation,  continued.  But  1928  was  principally  a  year  of 

DOLORES  DEL  RIO  climbed  into  the  best  sellers  with 
"Ramona"  and  now,  due  to  varying  performances  and  ill- 
judged  publicity,  seems  to  be  climbing  right  out  again.  1929 
will  tell  whether  or  not  Miss  Del  Rio  was  a  flash  in  the  pan. 

Look  at  the  case  of  Gloria  Swanson.  Months  have  passed 
and  she  has  not  started  on  her  ne.xt,  to  be  directed  by  Erich 
Von  Stroheim.  Her  1928  record  rests  upon  "Sadie  Thompson," 
a  good  effort  and  a  much  talked  about  one.  But  Miss  Swanson 
can  not  afford  to  let  the  months  roll  around  without  pictures. 

Consider  Lillian  Gish.  No  picture  at  all,  save  an  old  one, 
"Wind,"  just  released  by  Metro-Goldwyn.  Her  next,  to  be 
handled  by  United  .Artists,  is  still  far  away.  Yet  Miss  Gish 
is  considered  by  many  to  be  the  screen's  most  distinguished 

Such  consistent  stars  as  Adolphe  Menjou,  Richard  Barthel- 
mess,  Richard  Dix,  Ronald  Colman  and  Vilma  Banky  held 
their  own  during  1928.     ^ 

The  directors?  Clarence  Brown  crashed  up  against  his  first 
big  disappointment,  "The  Trail  of  '98."  D.  W.  Griffith  added 
nothing  to  his  glorious  record  with  "Drums  of  Love"  and  "The 
Battle  of  the  Sexes."  Cecil  De  Mille  contributed  a  second  rate 
sermon,  "The  Godless  Girl."  Erich  \'on  Stroheim's  "The 
Wedding  March"  died  on  the  cutting  room  floor. 

The  big  megaphone  laurels  go  to  Ernst  Lubitsch,  for  his 

Emil  Jannings  registered  three  best 
performances  in  Photoplay's  Shadow 
Stage,  in  "Street  of  Sin,"  "The 
Patriot"  and  "The  Last  Command" 

"The  Patriot";  F.  W.  Murnau,  for  his  "Four  Devils";  Josef  von 
Sternberg,  for  his  "The  Last  Command";  Paul  Leni,  for  his 
"The  Man  Who  Laughs";  and  Lewis  Milestone,  for  his  "The 
Racket."  King  \'idor  followed  his  noble  experiment  of  last 
year,  "The  Crowd,"  with  a  neat  comedy,  "The  Patsy."  Harry 
b'Arrast  continued  to  show  improvement  in  the  field  of  high 

The  best  of  the  year's  bumper  crop  of  crook  dramas  was 
"The  Racket."    This  did  a  lot  to  help  Thomas  Meighan. 

Marion  Davies  did  the  best  work  of  lier  career  in  "The 
Patsy,"  already  noted. 

The  popular  success  of  "Our  Dancing  Daughters,"  which 
made  a  star  of  Joan  Crawford,  is  likely  to  start  1929  off  with  a 
deluge  of  lively  pictures  of  youth  and  jazz. 

1928  completely  washed  up  on  Western  melodrama.  This 
means  that  such  high  paid  stars  as  [  coxtinued  on  page  111  ] 

Thomas  Meighan 

"The  Racket" 
"The  MaUng  Call" 

William    Powell 
"The  Drag  Net" 
"In  terf  erence' ' 

Fay  Wray 

"The  Weddinft  March" 
"Legion  of  the  Condemned" 

Roll  for  1928 

Players  and  Number  of  Best 

John  Gilbert,  4 

Emil  Jannings,  3 

George  Bancroft,  2 

Richard  Bartheltness,  2 

Betty  Compson,  2 

Gary  Cooper,  2 

Joan  Crawford,  2 

Marion  Davies,  2 

Louise  Dresser,  2 

Greta  Garbo,  2 

Janet  Gaynor,  2 

Jean  Hersholt,  2 

Thomas  Meighan,  2 

William  Powell,  2 

Fay  Wray,  2 



Alice  L.  Tildesley 


Ken  Laurel  had 
seen  her  picture, 
"The  Home  Girl," 
which  had  earned 
her  a  long  term 
contract.  In  real 
life  Ellen  was  just 
the  girl  she  had 
played.  Once  she 
had  even  taken  a 
prize  for  making 
chicken  pie 

LLEN  saw  Ken  Laurel's  shadow  before  she  met  him. 
Afterwards,  she  used  to  wonder  if  that  didn't  somehow 
symboHze    their    rehitionship, — his    shadow    darkening 
the  bright  pattern  of  her  life,  yet  not  affecting  him  at 
all.     She  was  a  sentimental  little  thing. 
The  shadow  incident  occurred  in  the  big  living-room  wherein 
Hollywood's  favorite  hostess  was  serving  Sunday  afternoon 
tea.     Ellen's  backless  antique  chair 
was  set  close  to  a  great  studio  win- 
dow that  opened  on  a  patio;  sunshine 
pouring  in  made  her  modest  slipper 
buckles  gleam.     She  drew  her  prim 
little  hat  down  on  one  side  because 
of  the  dazzle  in  her  e.ves.   .  .  .  And 
then  she  saw  the  shadow  on  the  pol- 
ished floor,  a  grotesque  thing  sprawl- 
ing across  the  bright  blotch  from  the 
radiant  window. 

"Ellen,  darling,  I  don't  believe 
you've  met  Ken  Laurel.  Ken,  this  is 
Hollywood's  shining  example, — a 
girl  who  doesn't  drink  or  smoke  or 

The  hostess'  svelte  figure  blotted 
out  the  shadow;  she  bent  over  Ellen, 
a  long  scarlet  cigarette  holder  almost 
touching  the  prim  little  hat. 

Color  rose  in  a 
painful  flood  from 
Ellen's  pretty  throat 
to  her  bright  brown 
hair.  She  put  her 
fingers  into  those 
outstretched  to  re- 
ceive them  and 
veiled  her  eyes  with 
her  lashes.  But  she 
saw  him  distinctly 
— big  and  broad  and 
self-confident,  with 
sea-blue  eyes  and 
the  ruddy  tan  of  a 
sailor.  .  .  .  He  had 
a  private  yacht. 

"  Have    you     no 
vices?"    he    asked, 
whimsically,   and 
though    it    was    an 
old  line,  she  laughed. 
"Don't   tell  any- 
one —  /  cat  onions!" 
she  retorted,   drop- 
ping   her    voice    as 
though  imparting  a 
tremendous    secret. 
He  sat  down  by 
her   and   the  rest  of  the  afternoon  became  a 
rosy  blur.     It  was. the  only  time  so  far  as  she 
could  remember   later  that  their  conversation 
turned  on  her.     He  had  seen  her  picture,  "The 
Home  Girl,"  which  had  earned  her  a  long  term 



^  thought  only 
of  his  career  and 
his  close-ups  and 
her  heart  stood  still 

for  years  until — 

Illustrated  by 

O.  F.  Howard 

contract,  and  he  listened  to 
what  she  said  about  Big 
Brother  and  their  rose- 
colored  bungalow  and  how 
she  had  once  taken  a  prize 
for  making  chicken  pie. 

Big  Brother  himself  inter- 
rupted the  letc-a-lcle  by 
putting  his  head  into 
the  room  and  calling: 
"Paging  Miss  Ellen 
Field!"  in  stentorian 
tones.  Brother  always 
took  Ellen  to  and  from 
parties;  she  couldn't 
drive ;  besides  he 
thought  of  her  as  some- 
one inexpressibly 

Ken  walked  to  the 
car  with  her,  handing 
her  in  with  an  air  of 
deferential  adoration 
familiar  to  his  fans,  and 
stood  for  several  min- 
utes looking  into  her 

He  called  up  just  as 
she  stepped  into  the 
bungalow  to  know  if  he 
might  come  over  that 
evening.  She  asked 
him  to  supper  and  made 

some  featherweight  biscuits  before  he  got  there.  Later 
they  took  a  walk  down  the  palm  and  pepper  lined  street 
and  he  asked  if  she  minded  his  calling  her  Ellen. 

She  decided,  as  she  lay  blissfully  sleepless  in  her  white 
bed  that  night,  that  she  would  be  married  in  church;  the 
bridesmaids  should  wear  orchid  and  carry  yellow  roses.  .  .  . 
Pale  blue  with  apple-blossoms  would  be  lovely,  but  it  would 
be  so  long  before  there  were  any  apple-blossoms.  .  .  . 

The  company  that  starred  Ken  Laurel  borrowed  Ellen  to 
play  opposite  him  in  his  next  picture  which  was  made  on 
location  in  a  mountain  wilderness.  The  principals  lived  in  a 
lodge  by  a  silver-shining  lake  that  rippled  almost  to  the  edge 
of  the  rustic  veranda.  Ellen  could  hear  the  waves  lap-lap- 
lapping  below  her  window  as  she  lay  in  the  dark  telling  over 
the  rosarv  of  hours  of  the  too-brief  davs. 

SHE  was  happy — rather  determinedly  happy.     Ken  saved  a 
place  for  her  beside  him  at  the  table  and  made  a  great  to-do 
over  whether  or  not  her  coffee  was  hot. 

He  called  her  "Our  N'ell,"  caressingly,  and  put'  great  fervor 
into  their  love-scenes. 

He  even  organized  a  band  to  serenade  her,  his  own  passable 

When  Ellen  came  back 
from  Italy  she  was 
wholly  changed.  Ken 
liked  women  of  the 
world,  did  he?  She 
bobbed  her  hair.  The 
carmine  line  of  her  lips 
became  a  flame  in  the 
dead  white  of  her  make- 
up. "Ellen's  gone  flap- 
per," Hollywood  said, 
as  it  watched  her  trans- 

!|  /  baritone  ringing  out  above   the  ukulele  and 

//  portable  organ  borrowed  from  studio  musicians. 

*      /■  "Give  me  all  your  love,  dear, 

^.,y/  Or  else  give  me  none! 

Give  me  every  kiss,  dear, 
I  Or  not  our!" 

he  would  sing,  standing  silhouetted  in  manly 
beauty  against  the  rising  moon. 

She  listened  from  her  window,  a  darkened  win- 
dow, of  course,  so  that  no  one  might  see  her 
modest  negligee.  The  trouble  was,  she  decided,  that  they  were 
never  alone — an  assistant  director,  a  camera  man  or  a  character 
woman  was  always  within  earshot.  But  the  last  day  of  the 
eight  weeks  brought  opportunity.   .  .  . 

The  script  called  for  a  "long  shot"  of  Ken  and  Ellen  in  a 
canoe  far  out  on  the  lake.  She  sat  facing  him,  the  breeze 
ruffling  her  pretty  hair,  her  shy  brown  eyes  pleading:  "Oh,  tell 
me  you  love  me!"  But  he,  leaning  on  the  oars,  developed  an 
interest  in  fish  and  insisted  on  explaining  the  difference  between 
fresh  and  salt  water  sport. 

"It's  the  first  time  we've  been  alone  together  since  we  came," 
she  managed  to  observe  when  he  had  finished  a  tale  about  a 
swordfish.  [  continued  on  page  100  ] 

oounding   a  o 



OOK  over  these  pictures  reveal- 
ing the  inside  of  a  sound  film 
'studio  in  action.  They're  the  last 
you  will  see  for  some  time.  The  pro- 
ducers have  banned  disclosures  of 
the  talkies. 

Here  }ou  see  "The  Desert  Song" 
in  the  making  at  the  Warner  Broth- 
ers Coast  Studios,  with  the  same 
scene  from  above  and  from  behind 
the  camera  booth  lines.  The  cam- 
eras are  within  glass  windowed  sound 
proof  booths.  They  bear  the  nu- 
meral 2  in  both  pictures.  Look  close 
for  the  microphones  hanging  in  lines 
and  on  stands  just  above  and  out  of 
reach  of  the  camera  lens.  Also  be- 
hind the  camera  booths  and  fronting 
the  orchestra.  Thus  you  get  the 
dialogue,  the  songs  and  the  back- 
ground music.  A  sound  film  set  still 
is  a  pretty  cramped  place — but  the 
talkies  are  in  their  infancy. 

Incandescent  lights  are  used  for 
the  talkies.  Sound  film  photography 
still  is  handicapped  by  the  fact  that 
the  cameras  have  to  be  out  of  sound 
range,  so  that  the  microphones  do 
not  pick  up  their  whir. 



EELiNG  Around 



Leonard   Hall 

The  Gag  of  the  Month  Club 

By  Walter  O'Keefe  via  Mark  Hellinger. 

Rin-Tin-Tin,  the  dog  star,  was  given  a  talking 
picture  test  recently. 

He  failed  to  pass,  as  he  was  found  to  bark  like 
a  Pekinese. 

Laughing  It  Off 

Gilda  Gray  has  a  birthday  .  .  .  Shake,  Gilda! 
.  .  .  Frank  Keenan,  at  70,  marries  a  third  wife 
.  .  .  and    they    called     his    first    movie    "The 
Coward"!  .  .  .  Tex  Guinan,  back  from  Holly- 
wood, says  that  if  her  night  club  racket  fails  she  can  always  get 
a  job  as  bridesmaid  for  Peggy  Joyce    .  .  .  Uncle  Carl  Laemmle 
tells  his  directors,  "Sure,  I  want  sex  .  .  .  but  I  want  CLEAN 
sex!"  .  .  .  Favorite  greeting  of  movie  managers  in  New  York 
.  .  .  "How's  business,  you  liar?"  .  .  .  Lya  de  Putti,  in  New 
York,  shopped  SI, 900  worth  in  one  day  .  .  .  Just  reviving  the 
old  game  of  Putti  and  Take.  .  .  .  Sixty  four  hundred  people 
attended   '"La   Tosca"   in   Los   Angeles 
ordinary  people  and  Norma  Shearer.  .  . 

a  parrot  is  just  a  canary  that  has  taken  up  Vitaphone.  .  .  .Fox 
Hnes  up  103  theaters  in  New  York  .  .  .  Originating  the  old 
saw  about  "Dumb  like  a  William  Fox." 

That    is,    6,399 
Eddie  Nugent  says 

The  Star 

At  parlor  games  I  admit  I'm  rank, 
At  Ritzy  gabble  a  total  blank, 
At  parties  I  never  cause  a  stir — 
But  goodness  me,  how  I  register! 

Hearts  and  Flowers 

James  Hall  and  Mema  Kennedy  have  ceased  bleating  .  .  . 
Jack  Gilbert,  on  his  New  York  visit,  is  said  to  have  gone  overboard 
for  Dorothy  Parker,  wit  and  poet  .  .  .  Don't  tell  Greta.  .  .  . 
Marceline  Day  announces  that  she  has  never  been  really  in  love 
.  .  .  which  cinches  it  that  it  Can't  Be  Long  Now.  .  .  .  The 
Evelyn  Brent-Gary  Cooper  crooning  seems  to  have  suspended. 
.  .  .  Bessie  Love  and  Eddie  Foy,  Jr.,  are  Being  Seen  Places.  .  .  . 
Joan  Crawford's  anklet,  gift  from  Doug  the  Younger,  says  "To 
darling  wife  from  Dodo"  .  .  .  Dodo  I  ...  If  he  writes  like  that 
it  certainly  is  love  and  no  fooling! 

Gettuig  Personal 

Doug  and  Mary  lunch  with  the  President  .  .  .  Mr. 
Coolidge,  it  is  reported,  said  "Yep!"  three  times,  and  "Nope" 
eight  .  .  .  Doug  stunned  Washington  with  a  trick  beret.  .  .  . 
Sue  Carol  is  now  21.  .  .  .  Japanese  film  kisses  are  limited  to 
30   seconds  ...  In    that    time   Jack    Gilbert    could    barely 

MOVIE  STUNT  MAN— "Darn  it! 
There  goes  my  fountain  pen  ! " 

take  a  breath  and  pucker  up.  .  .  .  Betty  Bronson  weighs  98 
pounds.  .  .  .  With  the  Sunday  papers  under  her  arm,  prob- 
ably. .  .  .  Vilma  Banky  is  to  make  a  talkie  .  .  .  Like 
"Darlink,  I  loaf  you."  .  .  .  Since  the  Strand,  New  York,  went 
all-talkie,  the  orchestra  of  18  men  plays  exacth'  16  minutes  a 
day  ...  at  full  salary  .  .  .  and  I  sassed  my  mother  when  she 
wanted  me  to  take  up  the  oboe!  .  .  .  Don't  call  a  failure  a 
"flop"  any  more.  .  .  .  When  a  show  or  a  romance  blows  up,  it 
is  now  said  to  have  "laid  an  egg."  ...  In  South  Africa  is  the 
"Bio-Tearoom"  .  .  .  Admission,  the  price  of  one  cup  of  tea, 
and  you  can  watch  moom  pitchers  as  long  as  you  like.  .  .  . 
Reliably  reported  that  Fairbanks  will  quit  as  an  actor  after 
present  picture  .  .  .  That  act  is  called  "Pulling  a  Patti"  .  .  . 
Juanita  Hansen,  former  serial  star,  was  scalded  in  a  hotel 
shower  bath  and  sues  for  sS2S0,000  .  .  .  Hot  mamma!  .  .  . 
Nils  .Esther  is  in  training  to  be  Metro's  Heavy  Lover  Ace  when 
Gilbert  goes  United  Artist.  .  .  .  Bill  Reid,  son  of  the  late 
Wally,  plays  the  saxophone.  .  .  .  Who  is  the  male  star  who 
has  been  losing  all  his  money  at  the  old  army  game  of  black- 
jack? .  .  .  Dustin  Farnum  is  living  in  retirement  on  Long 
Island  with  bis  wife,  Winifred  Kingston.  .  .  .  Pearl  White 
.  .  .  Remember  Pearl?  .  .  .  is  running  a  swell  gambling  casino 
at  Biarritz.  .  .  .  .'\  girl  named  Mary  Pickford  standing  for 
Parliament  in  England  .  .  .  Probably  on  a  Modified  Bob 

The  Little  Star's  Letter 

Dear  Santy  Clans,  I  do  not  ask 
A  mess  of  things  from  you. 

I'm  practically  perfect  now — 
There's  little  you  need  do. 

Give  me  a  dash  of  Swanson's  nose. 

The  leaping  legs  nf  Bow, 
A  touch  or  two  of  Ralston' s  hair, 

And  Lupc's  fiery  glow. 

Give  me  the  charm  that  Pickford  had, 
The  pep  that  Moore  has  noiv, 

Give  me  the  oo-la-la  of  Dove — 
And  I'll  get  by  somehow. 


Amateur  Movies 

By  Frederick  James  Smith 

Interest  Grows  in  $2,000  Prize  Contest — Many  Clubs 
Preparing  Entries — News  of  Amateurs 

Filming  a  scene  of  "Freshman  Days,"  with  the  Flower  City 
Amateur  Movie  Club,  of  Rochester,  N.  Y.,  on  location 

INTEREST  in  Pho- 
toplay's S2, 000  Am- 
ateur Movie  Contest 
is  increasing  steadily. 
Judging  from  the  notes 
of  information  and  in- 
quiry, the  number  of 
contest  iilms  submitted 
will  far  exceed  the 
prints  presented  for  the 
consideration  of  the 
judges  in  the  first  con- 

Not  only  is  there  in- 
terest  throughout 
America  in  the  con- 
test, but  there  will  be 
contesting  films  from 
abroad,  as  well. 

Photoplay  wishes  to 
repeat  its  advice  of  the 
past:  Be  sure  to  read 
all  the  rules  with  ex- 
treme care.  Every  film,  to  be  considered  by  the  judges  for  any 
of  the  prizes,  must  conform  to  every  rule. 

Send  in  your  contest  films  early,  if  you  wish,  but  remember 
that  they  cannot  be  returned  until  after  the  contest  closes. 
Photoplay  suggests  that  you  hold  your  film  as  long  as  possible. 
Repeated  examination  will  find  many  ways  of  improving  it. 

PHOTOPLAY    has    received    a   number   of    inquiries    from 
organizations  regarding  the  sort  of  equipment  necessary  to 
do  successful  35  millimeter  (standard  film)  work. 

Photoplay  suggests  that  such  clubs  will  find  either  the 
De  Vry  or  the  Eyemo  cameras  ideal  for  35  millimeter  work. 
Both  of  these  cameras  are  used  continually  in  the  leading  Holly- 
wood studios  for  special  and  unusual  shots. 

Both  of  these  machines  are  equipped  with  a  good  all-round 
lens  for  general  photography,  but  organizations  will  need  a 
speedy  lens  for  close-ups  and  for  interior  shots.  .\t  least  three 
lights  will  be  essential  and  more  will  be  required  if  you  expect 
striking  interior  shots. 

It  is  easy  to 
make  your  own  re- 
flectors. If  you 
don't  know  how, 
write  this  depart- 
ment and  enclose 
a  stamp  for  reply. 

A  tripod  for  the 
camera,  a  combi- 
nation rewinder 
and  splicer  for  cut- 
ting and  editing,  a 
projection  ma- 
chine and  screen 
for  observing  the 
picture  and,  per- 
haps, some  special 
lens  filters.  This 
will  constitute  a 
good  working 

Still,  all-round 
outfits  are  not  al- 


ways  necessary. Some  of 
the  best  films  submitted 
in  the  first  Photo- 
play Amateur  Movie 
Contest — and  some  of 
the  winners,  as  well — 
were  made  with  an 
equipment  that  con- 
sisted only  of  a  camera 
and  a  re-winder  and 
splicer.  Step-ladders 
acted  as  tripods.  Home- 
made lights  served 
their  purpose  satisfac- 
torily. Everything  de- 
pends upon  the  inge- 
nuitv  of  the  user. 

THE   Chicago  Cine- 
ma Club  off^ers  an 

— .■  ■■■         ■ 

The  Drama  Class  of  the  Newport  News,  Va.,  High  School  is  making 

another  student  film.     The  Drama  Class  was  well  represented  in 

PHOTOPLAY'S  First  Amateur  Movie  Contest 

interesting  example  of 
the  way  a  good  ama- 
teur organization 
should  function.  "Chicago,"  a  composite  film  study  of  the 
city  co-operatively  produced  by  members  of  the  club,  has  just 
been  screened.  Members  contributed  shots  of  the  city  which 
were  edited  by  a  committee  into  a  complete  film  narrative  of  the 
civic  and  industrial  life  of  Chicago.  Joe  Symons  is  now  presi- 
dent of  the  Chicago  Cinema  Club,  Oscar  Nugent  is  vice-presi- 
dent, Dwight  Furness  is  secretary  and  Frank  T.  Farrell  is 

THE  Amateur  Motion  Picture  Club  of  Miami,  Florida,  is 
getting  ready  for  the  Photoplay  Amateur  Movie  Con- 
test. The  club  has  been  holding  weekly  meetings  and  shooting 
short  productions  in  order  to  gain  experience. 

The  Miami  club  was  lately  formed  with  a  membership  of 
fifty.  Miami  city  officials  are  offering  every  possible  co-opera- 
tion. The  organization  recently  shot  "The  Hero"  in  two 
Sundays  of  work,  with  Dr.  Milton  J.  Benjamin  directing. 
F.  H.  Arcularious  is  president. 

THE  Cumber- 
land Amateur 
Motion  Picture 
Club,  of  Vineland, 
N.  J.,  is  prepar- 
ing two  35  milli- 
meter productions 
to  be  submitted  in 
Amateur  Movie 
Contest.  Thecam- 
era  work  on  one  of 
these,  an  under- 
world melodrama 
bearing  the  work- 
ing title  of  "Judg- 
ment Fulfilled,"  is 
half  finished  under 
the  direction  of 
Roy  C.  Ehrhardt. 
Sixteen  hundred 
[  continued  on 
PAGE  110  1 

Thousands  of  home  Christ- 
mas trees  will  be  immortal- 
ized    in     amateur     movies 
during  the  coming  holidays. 
Indeed,  the  Christmas  tree 
will    be    probably    the   first 
object  to  fall  victim  to  the 
new  camera.     To  help  be- 
ginners    Photoplay     pre- 
sents   these    two    pictures. 
Here's  how  you  should  pose 
your  tree  and  the  belle  of 
your  household.    You  need 
two  lights,   placed  so  that 
your    baby's   face    will    not 
have   bad   shadows.      Then 
attach  a  fast  lens  to  your 
camera — and  shoot.    If  the 
room   is  brilliantly  lighted 
by  the  sun  and  your  lens  is 
fast   enough,    you    can    get 
your   shots   without   artifi- 
cial illumination.    In  these 
specially  posed  pictures  for 
Photoplay  —  by    Eva    von 
Berne,    Eddie    Nugent    and 
little  Evelyn  Mills — a  Filmo 
and  two  of  the  new  home 
photography    incandescent 
lights  are  utilized 


Buy  an  unblocked  felt  shape  in  the  color 
that  is  most  becoming  to  you.  It  may 
look  unpromising,  but  don't  be  dis- 
couraged. Study  it  carefully  and  decide 
just  how  you  want  to  drape  it  to  fit 
your  head 

Now,  with  a  sharp  pair  of  scissors, 
cut  the  brim  from  the  crown.  Leave 
about  an  inch  and  a  half  of  felt  on  the 
brim,  as  you  will  need  this  to  work  on. 
And  be  sure  that  you  cut  in  a  neat 


OW  to 


By  Lois  Shirley 

DON'T  start  telling  me  that  the  stars  are  all  lilies  of  the  field 
who  walk  into  the  most  expensive  store  in  town  and  pay 
hundreds  of  dollars  for  their  dresses  and  hats. 
I've  been  shopping  with  them  and  I  know.  I  shall  never 
forget  a  day  when  Joan  Crawford  and  I  discovered  the  grandest  sale 
of  sweaters  for  $2.95  and  Joan  was  quite  as  thrilled  as  I  was.  She 
bought  two  and  added  to  her  purchases  the  most  cunning  little 
fifteen-dollar  dress  you  ever  saw.  You  should  have  seen  the  look 
on  the  saleswoman's  face  when  Joan  wrote  the  check. 

"You're  NOT  Joan  Crawford?"  she  asked  in  an  amazed  voice. 
And  Joan  had  to  produce  every  sort  of  evidence  that  it  was  really 
she  before  the  store  would  accept  the  check.  "Well,  I  never  thought 
that  YOU  would  come  into  this  little  shop!" 

'"Maybe  I've  shattered  an  illusion,"  said  Joan,  as  we  went  out, 
"but  you  can't  tell  me  that  these  sweaters  are  not  just  as  good  as 
ten  and  fifteen  dollar  ones." 

Any  number  of  the  stars  patronize  the  smaller  shops  and  some 
of  them  are  handy  with  the  needle  and  do  much  of  their  own 
sewing.  Eleanor  Boardman  made  six  little  porch  frocks  not  long 
ago  and  Gertrude  Olmsted  actually  invented  and  patented  a 
house  dress. 

NOW  along  comes  Esther  Ralston  with  a  smart  winter  hat  that 
can  be  made  for  $3.50  and  a  couple  of  hours'  work.  This  is  not  the 
first  time  that  Esther  has  made  herself  useful  as  well  as  ornamental. 
She  takes  great  delight  in  designing  and  executing  frocks  for  her 
little  nieces. 

But  I  must  tell  you  about  this  wonderful  hat.  Esther  was  good 
enough  to  pose  showing  just  how  it  is  done  and  you  can  follow  it 
through  picture  by  picture  and  stitch  by  stitch. 

I  know  that  you've  seen  whole  tables  covered  with  unblocked 
felt  hats  in  the  department  stores.  As  you  know,  these  can  be 
bought  for  $2.50  and  up.  They  come  in  all  colors.  It  happens 
that  Esther  chose  one  of  rose  beige  because  it  is  the  shade  that  is 
most  becoming  to  her.  How  awkward  and  ungainly  the  shape 
looks  until  skillful  scissors  and  needles  do  the  work! 

The  first  step  consists  in  cutting  the  brim  from  the  crown.     Of 

Next,  as  Miss  Ral- 
ston  demon- 
strates,  lift  the 
brim  from  the 
hat.  Cut  the  brim 
straight  down  the 
center  of  the 
back.  If  the  crown 
is  too  large  for 
your  head,  take  a 
tuck  in  the  back. 
If  it  is  too  deep, 
trim  it  down  un- 
til it  fits  you 

a  Winter  Wat  for  ^3.50 

It  can't  be  done?     Then  take  a  little  lesson  in 
millinery  from  Esther  Ralston 

^^^^^  ^  ^^^^^T  iiMH^K^ 


^LJ^H                          ^^iffilHH^^^^^A^K  V.     1 




^  *J>  I 


^^HP^^HL?^  xl 

m-  'i 



H  J 


\  ;* 

3  '^ 


^^^■B'  •.    p^^l 



^^Bk^  '"^k 



1^^^   ^-^ 

■    ^ 

W  '^  i 



■    /    1 



Go  to  a  mirror  and  watch  the 
next  few  steps  carefully.  Pin 
the  front  of  the  brim  to  the 
front  of  the  hat,  so  that  the 
brim  makes  a  frame  for  your 

course,    you    must    remember    to    leave 
about  an  inch  and  a  half  of  the  felt 
standing   to   the   brim   as   this   gives 
something  with  which  to  work.     It 
leaves  a  solid  body  that  is  necessary 
lo    the    success    of    the    chapeau. 

Now    comes   the    tricky    part. 
Stand  in  front  of  a  mirror  and 
place  the  crown  well  down  over 
your  head.  If  it  is  too  deep,  trim 
it  down  to  the  right  size.    If  it 
is  too  large  take  a  tuck  at  the 
back.   These  little  tucks   are 
very  chic  and  sometimes  add 
ji'st  the  touch  of  smartness 
for    which    you're    looking. 

THE  brim,  which  has  been 
split  at  the  back,  is  now 
turned     upside     down     and 
pinned  to  the  crown  tempo- 
rarily unlil  you  have  decided 
upon  the  lines. 

Esther  decided  that  the  up- 
ward rolling  brim  is  best  for  her, 
so  the  crown  is  pinned  at   the 
center  back  in  a  neat  little  roll. 
You   will   note   that    the   brim   is 
placed  rather  high  on   the  crown, 
giving  the  smart   bandeau   effect. 

The  brim  and  crown  may  now  be 
sewn  together  and  the  ragged  edges 
evened  up.  With  the  hands  the  brim 
is  shaped,    a  low  droop  on  the  left 

This  is  where  you  show  your 
skill.  Roll  the  front  of  the 
brim,  bring  it  down  on  the 
sides,  and  fasten  in  the  back. 
Experiment  to  see  what  line 
suits  vou  best 

Miss  Ralston  has  placed  the 
brim  high,  to  give  a  bandeau 
effect,  and  has  shaped  it  into 
an  upward  roll.  The  brim  is 
fastened  to  the  crown  at  the 

and  an  upward  sweep  at  the  right,  with 

a  short  hne  at  the  back.   The  finishing 

touch  is  accomplished   with  an  ony.Y 

and  rhinestone  pin  at  the  side  front. 

The  pin  cost  $1. 

And  there   you    have   a   hat   in 
which  you  would  not  be  ashamed 
lo  lunch  at  the  smartest  restau- 
rant in  town.     The  beauty  about 
it   is   that   this  is   not   the  only 
shape  that  may  be  made.   Felt 
lends  itself  to  draping  and  if  you 
e.vperiment  long  enough  before 
your  mirror  you  may  be  able  to 
evolve   an   even   smarter,   more 
becoming   design  of  your  own. 

Here  is  the  finished  hat, 
tricked  out  with  an  orna- 
ment that  may  be  purchased 
for  one  dollar.  The  total  cost 
is  only  three  dollars  and  a 
half,  but  the  effect  is  that  of 
a  hat  three  times  as  expen- 
sive. Any  girl  with  only  a 
slight  knowledge  of  milli- 
nery can  easily  make  one  like 
it  for  herself 


"Imagine  My 


Ve  r  n  o  n 


It  was  Charles  Francis  Coe,  the  author,  who 
asked  Don  Terry  if  he  wanted  to  take  a  test  for 
"Me, Gangster."  Terry  thought  he  was  kidding, 
but  he  figured  it  might  give  him  a  chance  to 
see  the  inside  of  a  studio 

ANYBODY  that  has  ever  read  about  Hollywood  knows 
about  ^lontmartre,  or  at  least  almost  anybody. 
For  the  benefit  of  those  who  do  not,  allow  me  to 
explain  that  Montmartre  is  not  a  tough  section  of  the 
city,  but  a  restaurant.  And  this  stor>-  is  somewhat  of  a  free 
advertisement  for  that  restaurant. 

Exactly  speaking,  it  is  a  dissertation  about  lunch  and  the 
evils  thereof,  if  any.  It  is  the  tale  of  a  lunch  that  paid  and 
paid  and  paid.    A  man  paid,  not  a  woman. 

A  statistician  with  a  sense  of  humor  once  figured  that  one 
out  of  ever\-  eighty-four  movie  actors  was  ''discovered"  while 
lunching  at  Montmartre.  The  yarn  is  a  bit  hackneyed  and 
would  have  been  cast  into  oblivion  had  not  Charles  Frances  Coe, 
the  well-known  author,  come  to  town. 

The  tale  we  are  about  to  unfold  deals  with  one  Don  Terry, 
of  whom  you  probably  never  heard  before  in  your  life.  If 
things  go  as  Charles  Francis  Coe  expects,  however,  you  will 
hear  much  of  Mr.  Terr\-. 

It  so  happened  that  Terr\'  had  betaken  himself  to  Mont- 
martre for  lunch.  .And  on  the  same  day,  Mr.  Coe,  wearying  of 
his  typev,riter  and  the  Fox  lot,  likewise  had  betaken  himself 
to  liontmartre  to  appease  the  inner  man. 

Columnists  and  humorists  have  commented  so  frequently 

When  I  ordered  luncheon 
at  Montmartre  and  got  a 
job  in  the  movies."  How 
Don  Terry,  tourist,  found 
out  that  he  was  "just  the 

upon  the  matter  of  screen  opportunities  ofifered  by  the  Mont- 
martre, that  I  hesitate  to  set  forth  what  actually  happened 
this  particular  day. 

But  even  at  the  risk  of  being  ridiculed,  I  shall  tell  the  har- 
rowing truth.  Or  I  shall  do  even  better.  I  shall  allow  Mr. 
Terry  to  tell  the  harrowing  truth,  in  his  own  words: 

"T  H.\D  no  idea,"  Mr.  Terry  began,  stepping  briskly  up  to 
-1-  the  microphone,  "that  anything  untoward  was  going  to 
happen.  As  a  matter  of  fact,  I  had  written  home  to  tell  the 
folks  that  the  prodigal  was  returning,  and  to  prepare  the  fatted 
calf's  liver  and  onions. 

"But  you  see,  during  my  stay  in  Hollywood,  I  had  seen  no 
picture  stars.  In  fact,  I  had  found  picture  stars  altogether  at 
a  premium.  I  could  not  get  into  a  studio.  On  Hollywood 
Boulevard  I  could  find  only  branches  of  the  Bank  of  Italy,  a 
branch  to  every  corner.  Then  someone  told  me  about  Wednes- 
day and  the  ^lontmartre,  so  to  the  Montmartre  I  went  for 
lunch,  expecting  to  glimpse  a  star  or  two  but  finding  chiefly 
lowans  with  the  same  idea  as  my  own. 

"Imagine  my  surprise  whan  a  man  came  over  to  me  and  asked 
if  I  was  in  pictures.  I  thought  he  was  kidding,  especially  when 
he  said  I  was  just  the  type.  He  looked  so  much  like  a  tourist, 
however,  that  I  resolved  not  to  hit  him.  I  took  his  card  and 
read  the  name,  'Charles  Francis  Coe,'  figuring  that  maybe  it 
would  give  me  a  chance  to  see  a  studio.  I  had  only  the  vaguest 
idea  of  what  a  test  was,  but  I  paid  my  check  and  set  forth  for  the 
Fox  Studio." 

Young  Terry  evidently  believes  in  the  luck  of  the  Irish,  for 
his  name  is  not  Terr\'  at  all  but  Loker — Donald  Loker.  Loker 
would  never  do  on  the  screen,  however,  and  Don  Terry  will  do 
very  handsomely. 

THE  thing  Coe  had  in  mind  for  Terr>'  was  the  lead  in  a 
picture  he  had  just  written  from  his  story,  "!Me,  Gangster," 
which  Raoul  Walsh  directed.  Coe  felt  that  Terr\-  was,  as 
he  so  aptl_\'  expressed  it,  "just  the  type." 

The  author  took  his  "find"  to  the  maker  of  "What  Price 
GloPi',"  and  that  worthy  gave  him  the  up-and-down  and 
said,  "Coe,  I  think  you've  got  something."  He  made  a  test 
and  as  soon  as  it  came  out  of  the  laboraton,-,  Don  Terry  was, 
without  any  previous  screen  experience,  a  leading  man. 

And  still  they  say  there's  no  Santa  Claus! 

As  to  whether  Terry  will  remain  a  leading  man  is  another 
matter.  It  will  depend  upon  whether  he  can  act.  But  for  the 
present  he  has  a  job  that  most  folks  would  give  their  index 
finger  or  toe  to  capture.  And  his  qualifications  for  holding 
it  are  the  following:  [  coxtinued  on  page  105  ] 


/UST  a  little  story  to  show  why  Lupe  Velez  is  the  favorite  star  of 
the  prop  boys,  electricians  and  extras.  When  Lupe  finished  "The 
Love  Song,"  the  prop  boys  presented  her  with  a  hand-carved  make- 
up box.  The  oldest  property  man  made  the  presentation,  and  Lupe  re- 
warded him  by  kissing  him  on  both  cheeks.  "Every  man  offer  Lupe 
diamond,  which  she  no  take,  but  no  man  every  made  anything  for  her 
with  his  own  hands."    Whereupon  everyone  had  a  good  cry 



Good  Game 

Modern  golf  is  excel- 
lent for  displaying 
perfect  form.  Gwen 
Lee  has  no  sleeves  to 
bind  her,  no  hose  to 
run.  She  knows  her 
niblicks.  Bu  tin 
mother's  day  girls  had 
things  on  their  minds, 
particularly  those 
fuzzy  Scotch  tarns 
and  the  vague  feeling 
that  a  spoon  shot 
sounded  faintly  im- 

Gaze  on  the  little 
water  wow,  center, 
ready  to  launch  forth 
on  that  abandoned 
breast  stroke.  Com- 
pare her  with  the  trim 
young  thing  illustrat- 
ing the  new  freedom 
of  the  seas 

When  a  girl  arrives  at  the 
tennis  courts  gowned  with 
comfortable  distinction,  the 
man  behind  the  net  knows 
she  has  a  beautiful  serve. 
Formerly  her  costume 
warned  him  that  the  only 
stroke  the  poor  darling  would 
get  was  one  of  apoplexy 

Once  it  was  not  so  hot. 

Today  chic  clothes 

make  champions 


Photoplay  Magazine — Auvektising  Section 

At  sixteen  Jane  Kendall  excelled 

in  riding  and  every  sport.  "Beauty 

and  the  Beast"  this  portrait  zvith 

her  Great  Dane  was  called. 

At  seventeen  she  siudu.:  piii'.r.K-^ 

in  Paris  {for  she  is  gijted  as  she 

is   beautiful) — and  prepared  for 

her  '^coming  out'*  festivities. 

At  eighteen  came  her  Washington 

debut  in  this  Lanvin  frock.    They 

called  her  "the  prettiest  girl  that 

ever  entered  the  Ik'hite  House." 

At  nineteen  her  marriage  to  a  dis- 
tinguished young  New  Yorker  -ujas 
the  outstanding  event  of  the  smart 
Washington  season. 

"  Ike  Prettiest  GlrL  tkat  ever  etttered  tke  Wklte  Hcaise''' 

Ma^.  George  Grant   MaSon..^. 

long  left  her  teens,  but  her  extra- 
ordinary beauty  has  already  made  her 
famous.  "The  prettiest  girl  that  ever 
entered  the  White  House"  they  called 
her  when  she  made  her  dazzling  debut 
in  Washington.  Soon  followed  her  bril- 
liant marriage  to  a  New  Yorker  of 
distinguished  family. 

Clear-cut  as  a  cameo  is  Mrs.  Mason's 
pale  blonde  Botticelli  beauty.  Her 
purple  pansy  eyes  are  dark  against  her 
flawless  skin,  pale  as  a  wood  anemone. 
Gifted  and  interesting,  she  is  always  in 
demand.  From  her  father's  homes  in 
Washington  and  Maryland  to  the  gay 
diplomatic  circles  of  Havana  where  her 
husband  is  an  important  figure,  she 
flits  like  a  butterfly,  yet  her  complexion 
is  ever  exquisite. 

This  perfection  of  her  pale  anemone 
skin  she  owes  to  the  tour  simple  steps 
to  beauty  that  so  many  lovely  young 
moderns  follow.  "I've  used  Pond's 
Creams,"  she  says,  "ever  since  I  can 

"I  dote  on  them!  The  Cold  Cream 
is  so  light  and  pleasant — leaves  the  skin 
really  clean  and  soft.  The  Vanishing 
Cream  gives  such  a  velvety  surface  for 

Now  Mrs.  Mason  finds  Pond's  two 
new  products  just  as  delightful. 

"The  Cleansine  Tissues  are  a  lux- 

Pond's  Tivo  Creams,  Skin  Freshener  and 
Cleansing  Tissues  compose  Pond's  famous 
Method,  the  sure  way  thousands  of  young 
moderns  use  to  keep  their  skin  always  lovely. 

.M,,  .  Ulukol  (jkaxt  Maso.n,  Jr.,  ■  Miss 
Jane  Kendall,  daughter  of  Mr.  and  Mrs.  Lyrtian 
Kendall  of  If  'ashington,  D.  C.  Since  her  brilliant 
debut  her  Botticelli  beauty  has  been  famous.  Her 
flawless  skin  is  delicate  as  a  wood  anemone. 

ury,"  she  says.  "They  remove  cold 
cream  perfectly.  And  the  Skin  Fresh- 
ener  gives    your   skin    such    a   lovely 

USE  POND'S  Cold  Cre-im  for  cleansing 
generously  several  times  a  day  and 
every  night,  patting  it  over  face  and  neck 
with  upward,  outward  strokes.  It  soaks  into 
the  tiny  apertures;  softens  and  loosens  the 
dust  and  dirt. 

With  Pond's  Cleansing  Tissues,  firm, 
ample,  light  as  thistledown,  wipe  off  the 
cream  carrying  the  dust  with  it. 

Repeat  these  two  steps  until  the  tissues 
show  no  soil. 

If  you  are  having  a  daytime  cleansing  a 
dash  of  the  exhilarating  Skin  Freshener  will 
tone  and  refresh  your  face.  Apply  it  briskly. 
See  how  it  livens  and  braces  the  complexion. 

Lastly,  for  the  correct  completion  to  per- 
fect grooming,  apply  just  a  shade  of  Pond's 
\'anishing  Cream  before  you  powder.  It 
protects  the  skin,  gives  it  fine-grained 

Pond's  four  simple  steps  mean  beauty. 

If  it  is  possible  that  you  have  not  used 
Pond's  four  delightful  preparations,  mail 
the  coupon  for  a  week's  test  supply. 

Mail  the  Coupon  vcilh  loi.  for  Pond's 
four  preparations. 

I'on'd's  Extract  Company,  Dept. N 
I  '4  Hudson  Street,  New  York  City 




Copyright,  192S,  Pond's  Exrract  Company 

When  you  write  to  advertisers   please  mention   PllDTOPLAT   MAGAZINE. 

Here  Are  Winners  of  $5,000  Contest 


fortunate  enough  to  recei\'e,  but  regardless  of 
the  amount,  it  would  no  doubt  be  put  to  good 
use  in  my  own  home,  as  the  Christmas  season 
is  near  and  I  am  positive  it  would  make  possible 
a  very  happy  Christmas  for  the  famih-,  which 
consists  of  my  husband  and  two  sons." 

For  the  number  of  accurate  solutions,  the 
ingenuity  of  ideas  and  the  neatness  with 
which  they  were  presented,  this  contest  of  1928 
led  all  previous  ones. 

To  those  who  failed  to  win  a  prize  Photo- 
PL.\Y  says:  "May  3'ou  have  better  luck  next 
time!"  To  the  winners,  Photopl.ay  offers  the 
heartiest  congratulations. 


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Miss  Marie  A.  Shapter 

821  Neil  Avenue,  Columbus,  Ohio 

Miss  Emma  Gi^-ren 

1132J^  West  40th  Place,  Los  Angeles,  Calif. 

E.  J.  Myrose 

43  Real  Estate  and  Law  Bldg.,  Atlantic  City, 


Mrs.  R.  J.  M.WHER 

5118 — 41st  .\ venue,  S.  E.,  Portland,  Oregon 

Miss  Melissa  Weaver 

c/o  The  Roseville  State  Bank,  Roseville,  Ohio 

I\Irs.  Dorothy  McAuslin 

16  Phoenix  Avenue,  Waterbury,  Conn. 

RiTTH  Curry 
1100  Winfield  Avenue,  Topeka,  Kansas 

A  large  storeroom  was  necessary  in  which  to  keep  the  thousands  of  solutions  in  this  year's  Cut-Puzzle  Contest. 
Here  is  a  section  of  the  great  mass  after  the  judges  had  selected  the  first  five  prize  winners 


Photoplay  Magazine — Advertising  Section 



Her  hair  is  oily 

She  should  use  Packer's  Pine  Tar  Shampoo 

If  you  have  the  kind  of  hair  that  loses  its  fiufEness  shortly  after 
shampooing,  use  Packer's  Pine  Tar  Shampoo.  This  preparation  is 
tonic  and  mildly  astringent  .  .  .  approved  by  dermatologists.  It 
leaves  the  hair  fluffy,  with  a  natural  sparkle.  Use  it  every  four  or 
five  days  at  first;  later  every  week  or  ten  days  may  be  enough. 

Her  hair  is  dry 

She  should  use  Packer's  Olive  Oil  Shampoo 

Like  all  Packer  soaps,  this  shampoo  is  a  vegetable  oil  soap  ...  in 
addition,  it  contains  a  rich,  soothing  emollient  (and  nothing  to  dry 
the  scalp).  Dry  scalps  will  never  feel  a  stinging  sensation  when 
they  use  this  special  shampoo.  Leaves  your  hair  soft  and  silky  to 
the  touch— more  manageable— and  delicately  perfumed. 

He  has  dandruff 

He  should  use  Packer's  Tar  Soap 

.  .  .  the  soap  that  made  pine  tar  famous  for  shampooing.  Pine  tar 
is  antiseptic,  healing,  with  properties  valuable  in  the  treatment  of 
dandruff.  Packer's  Tar  Soap  is  endorsed  by  dermatologists  for 
skin  and  scalp.  For  noticeable  dandruff  use  Packer's  Tar  Soap 
every  few  days  until  improvement  begins. 

Select  the  shampoo  your  hair  needs 

Acute  cases  of  dryness,  oiliness  and  dan- 
druff need  the  care  of  a  dermatologist— a 
doctor  who  is  a  skin  specialist.  But  nearly 
all  scalps  lend  to  be  dry  or  oily,  and  many 
are  mildly  affected  with  dandruff.  Now — 
each  type  of  scalp  can  have  the  special 
shampoo  which  meets  its  particular  needs. 
The  coupon  is  for  your  convenience.  The 
regular  size  of  each  shampoo  is  for  sale 
at  your  drug  or  department  store. 

Check  Sample  Desired 

For  10c  enclosed  send  sample  of 


n   Olive  Oil  Shampoo 
n   Tar  Shampoo 
n  Tar  Soap 

Packer  Mfg.  Co.,  Inc.,  Dcpt.  10  A,  101  West 
Thirty-first  Street,  New  York  City:  Send  me 
offer  checked,  with  28-page  book  on  hair  health. 




When  you  write  to  adverUsers  please  mention  PHOTOPLAY  MAGAZINE. 

Gossip  of  All  the  Studios 


done  right  well  by  him.  He  is  one  of  those  lucky  lads  who 
in\ested  heavily — to  the  tune  of  $125,000,  we  are  told — in 
Bank  of  Italy  stock  and  got  out  just  eleven  days  before 
the  crash. 

ARISING  young  star,  laden  with  letters,  met 
Polly  Moran  on  the  M.-G.-M.  lot. 
"See,"  said  the  r.  y.  s.,  "this  is  my  daily  fan 

"I  haven't  been  to  get  mine  yet.  Walk  over 
to  the  post  office  with  me,"  said  Polly.  At  the 
window  she  said: 

"Come  on,  boys,  don't  hold  out.  Give  me 
that  postal  card." 

The  megaphone  for 
directors  goes  on  the 
shelf  and  earphones 
take  its  place.  This 
picture  shows  the 
new  technique  of  re- 
cording talkies.  Roy 
Pomeroy  is  directing 
Evelyn  Brent  and 
Doris  Kenyon  in  a 
scene  from  "Inter- 
ference." The 
microphone,  over 
their  heads,  is  just 
outside  of  the  range 
of   the  camera 

In  the  talkies,  the  cutter  must  work  on  two  films, 
the  visual  picture  and  the  sound  track  record.    Mer- 
rill White  inspects  a  scene  and    its    vocal    accom- 
paniment for  "Interference" 


A  NOTHER  expression  of  Phyllis  Haver's 
-'^■popularity.  Recently  she  gave  a  rather  large 
party,  to  which  one  hundred  ninety  guests  were 
invited.  The  number  of  people  that  came 
slightly  exceeded  four  hundred.  Eddie  Brand- 
statter  was  called  on  to  furnish  the  third  supply 
of  food  and  there  was  enough  for  Grant's  army 
to  begin  with.  Did  she  say  to  them,  "I  am  so 
happy  to  see  you,  I  wish  I  had  thought  to  invite 
you"?   Not  much,  for  Phyllis  is  not  like  that. 

P'OLLEEN  MOORE  and  William  Seiter  were 
^^-'riding  down  Sun?et  Blvd.  As  they  passed 
Warners'  studio,  fearful  sounds  rent  the  air. 
Bill  stopped  the  car  and  looked  in  every  direction. 
"Drive  on,"  said  Colleen  "they  are  merely 
making  a  Vitaphone  insert." 

/"''WEN  LEE  has  deiinitely  broken  her  en- 
^■-'gagement  with  George  Hill.  Gwen  is 
beautiful  and  attractive  and  a  splendid  dancer. 
Hill,  once  a  cameraman,  now  a  director,  had  no 
interest  in  the  social  life  of  Hollywood.  He 
avoided  parties  and  opening  nights,  which 
meant,  of  course,  that  Gwen  avoided  them,  too. 
This  should  be  great  news  to  eligible  young 
bachelors  about  town. 

In  the  air  scenes  for  "Gold  Braid"  the  record- 
ing apparatus  was  carried  aloft  by  the  planes. 
Ramon   Novarro   is   holding   the   microphone 
that  caught  the  roar  of  the  motors 

CHARLIE  CHAPLIN  and  Charles  Furthman  were  driving 
along  the  boulevard  in  their  respective  cars.  Being  famous 
film  folk  they  saw  no  reason  why  they  shoiild  not  park  double 
w'hile  Chaplin  went  into  a  store  to  make  a  purchase. 

Upon  his  return  he  discovered  a  lordly  cop  standing  over 
the  car. 

■'Parking  double!    What's  your  name?" 

"Charles  Chaplin,"  said  the  little  comedian. 

The  cop  looked  him  over.  "Maybe  yes,  maybe  no.  How  can 
you  be  Charlie  Chaplin?    Where's  your  moustache?" 

Where  are  the  stars  of  yesteryear? 
Where  are  the  worshipped  ones,  and  dear? 
Where  are  the  old  gods,  fine  and  fair? 
Wait — don't  answer  me !    I  don't  care. 


EMEMBER  the  old  wheeze  about  what's  in  a  name? 
Well,  lend  ear  to  this: 
Muni  Weisenfrund,  famous  [  continued  on  page  86  ] 

Photoplay  Magazine — Advertising  Section 


After  exposure — avoid  ^Or*G     I     MT*0/lt" 


Checks   it  quickly 

because  powerful 

against  germs 

Sore  throat  is  a  danger  signal 
of  oncoming  trouble  —  a  cold 
or  worse. 

It  usually  develops  after  sud- 
den  changes  in   temperature 
or  exposure  to  others  in  over- 
heated   offices,     germ-ridden 
railway  trains,  street  cars  and 
buses.  Wet  feet  also  encourage 

The  moment  your  throat  feels 
irritated,  gargle  with  Listerine 
full  strength.      Sore  throat  is 
usually  caused  by  germs — and 
Listerine    full     strength     kills 

For  example,  it  kills  even  the 
virulent  B.  Typhosus  (typhoid) 
and  M.  Aureus  (pus)  germs  in 
15  seconds,  as  shown  by  re- 
peated laboratory  tests.    Yet  it 
may  be  used  full  strength  in 
any  cavity  of  the  body.    Indeed, 
the  safe  antiseptic. 
The  moment  Listerine  enters 
the  mouth  it  attacks  the  dis- 
ease-producing   bacteria    that 
cause  you  trouble.    And  unless 
your  sore  throat  is  a  symptom 
of  some  more  serious  disease, 
calling    for    the    services    of  a 
physician,  Listerine  will  check 
it     in     an     amazingly     short 

For     your     own     protection, 

keep   a    bottle    in    home   and 

office.       It's    an    investment 

in    health.      Lambert    Phar- 

macal   Company,    St.    Louis, 

Mo.,  U.  S.  A. 

To  escape  a  cold 

use  Listerine 
this  way: 

You  can  materially 
lessen     tlic    riwk    of 
catching   colds    by 
rinHiiig    the   hands 
ivith    Liistcrine   bc- 
ftirc  each  meal,  the 
way    physicians    do. 
The   reaHon   for   this 
is  obvious: 

Listerine    attacks 
the  germs  of  cold  on 
the  bands,   thus 
reiidcrinR    them 
hariiilcHs  when  they 
enter  the  mouth  on 
foinl     >vhi<-h     hands 
have  carried.     Isn'^t 
this  quick   precau- 
tion  worth   taking? 


men  say.  They're  enthusiastic  about  Lis- 
terine Shaving  Cream.  You  will  be  also 
when   yiiu   try    it.      So  cool  I      So  soothing! 

S\'hcn  sou  write  to  advertisers   please  mention  PHOTOPLAT  MAGAZINE. 


Photoplay  Magazine— Advertising  Section 

Madge  Bellamy,  Fox  star, 
in  the  quaintly  charming 
bathroovi—one  of  the  finest 
huilt  in  Hollywood — which 
so  effectively  combines  richly 
veined  marble  with  natural 
grained  paneling. 

"The  'studio  skin  a  star 
must  have  demands  a  soap 
that  leaves  the  skin  smooth  as 
a  rose-petal— and  Lux  Toilet 
Soap  does!" 

I'lioto  by  L    T  liumson.  Hollywood 

Photo  by  E.  A.  Bachrach.  Hollywood 

The  very  next  time  you  see  tiny  Olive  Borden  in  a 
close-up,  notice  how  exquisite  Lux  Toilet  Soap  keeps 
her  slcin.  "  It's  so  important  for  my  skin  to  have  the 
smoothness  wemean  by'studioskin,' and  Lux  Toilet 
Soap  is  so  splendid  for  it  that  I  am  dehghted  with 
this  daintily  fragrant  soap,"  she  says. 

Mary  Nolan,  Universal  star,  gives  such  intelligent  care 
to  her  beautiful  skin,  both  at  home  and  in  her  dressing 
room  on  location.  "I  am  utterly  enthusiastic  about 
Lux  Toilet  Soap,"  she  says. 

Lux    Toilet 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  Buaranteed. 

Photoplay  Magazine — Advertising  Section 




and  in  their  dressing  rooms 

9  out  of  10  screen  stars 
use  Lux  Toilet  Soap 

Photo  by  W-  E.  Tlionias.  Hollywood 

Irene  Rich,  in  the  bathroom  built  in  Holly- 
wood to  combine  classic  luxury  with  modern 
charm.  "Lux  Toilet  Soap  gives  the  skin  as 
beautiful  a  smoothness  as  the  famous  French 
soaps  do,"  she  says. 

EVERY  GIRL  knows  how  at- 
tractive   she    IS   when    her 
skin  is  really  lovely. 

Experience  has  taught  movie 
directors  that  an  exquisite  skin  gets 
an  immediate  response  from  people. 

"Smooth  skin  is  the  first  essen- 
tial of  charm,"  says  Paul  Leni, 
director  for  Universal.  "To  become 
—  and    remain — a    popular    screen 

star,  a  girl  must  have  a  skin  so  flaw- 
lessly smooth  that  even  in  the  glare 
of  the  close-up  it  is  perfect." 

Of  the  451  important  actresses 
in  Hollywood,  442  are  devoted  to 
Lux  Toilet  Soap  because  it  keeps 
the  skin  so  smooth  and  soft.  And 
all  the  great  film  studios  have  made 
it  the  official  soap  for  all  dressing 
rooms.  You,  too,  will  be  delighted 
with  this  white  fragrant  soap. 

photo  by  W.  E.  Thomas,  Hollywood 

Phyllis  Haver,  Pathe  star— "Lux  Toilet  Soap  leaves  my  skin  so  gently 
smooth  that  I  have  no  fear  of  the  high-powered  lights  of  the  close-up." 

"Under  the  new  incandescent  'sun- 
spot'  lights  a  star's  s!:in  must  show 
flawlessly  smooth,"  says  Seena  Owen. 


Luxury  such  as  you  have  found  only  In  French  soaps 
at  joc  and  $1.00  the  cake — Now 

When  you  write  to  advertisers  pkase  mention   PHOTOPLAY   MAGAZINE. 



Photoplay  Magazine — Advertising  Section 

Helena  Rubmstein.  Cosmetics 
Proclaim  tlie  Artist! 

Mme.  Helena  Rubinstein 
World-Renowned  Beauty  Specialist 

For  color,  for  texture,  for 
staying  quality,  for  whole- 
someness,  the  cosmetic 
creations  of  Helena  Rubin- 
stein are  unquestionably 
the  finest  in  the  world. 

The  Basis  of  a  Chic 

Beforeyou apply  your  finishing  touches, 
cleanse  the  skin  with  Valaze  Pasteurized 
Face  Cream — the  soothing,  revitalizing, 

Erotective  cream.  Ic  molds  the  skin  in 
eauty  (1.00).  Valaze  Beauty  Founda- 
tion Cream  makes  rouge  and  powder 
doubly  adherent,  doubly  flattering.  An 
ideal  powder  foundation  (1.00,  2.00). 
Now  your  skin  is  ready  for — 

A  Powder  Masterpiece 

Valaze  Powder.  Clinging,  exquisitely 
textured,  subtly  fragrant.  In  a  rich 
variety  of  smart  and  enhancing  shades, 
Novena  for  dry  skin.  Fia/^ze  for  average 
and  oily  skin.   1.50,  3.00. 

It  is  essential  that  you  visit  Helena  Rubinstein's 
Salons  at  this  trying  time  of  year,  so  that  your 
beauty  may  present  a  harmony  of  perfection — skin, 
contour,  eyes,  hands  and  hair  all  exquisite.  Here 
you  -wili  receive  the  last  -word  in  scientific  beauty 
treatments  and  expert  guidance  on  home  treatments 
and  make-up. 

THE  secret  of  a  successful  facial  ensemble?  .  .  .  Make-up  that 
is  as  perfect  in  texture  as  in  color  .  .  .  lipstick  that  lends  satin 
smoothness  as  well  as  luscious  tone  .  .  .  rouge  you  can  blend  with 
ease  .  .  .  powder  so  gossamer  it  becomes  one  with  the  skin  .  .  . 

Such  are  the  cosmetics  of  Helena  Rubinstein.  For  they  are  the 
creation  of  one  who  is  artist  as  well  as  scientist  .  .  .  one  who  for 
years  has  divided  her  life  between  laboratory  and  atelier  .  .  .  study- 
ing constantly  to  bless  all  women  with  the  wondrous  coloring  of 
immortal  beauties. 

When  you  touch  the  new  Cubist  Lipstick  to  your  lips,  when  you 
bring  the  glow  of  Red  Raspberry  Rouge  to  your  cheeks,  when  you 
clothe  your  skin  with  the  gentle  fragrant  radiance  that  is  Valaze 
Powder,  then  you  realize  the  magic  that  lies  in  make-up. 

Beautiful  Eyes 

Accent  the  Beauty  of  Your  Eyes  with 
Valaze  Persian  Eye-Black  (Mascara) — 
instantly  darkens  the  eyelashes  giving 
them  an  effea  of  silky,  soft  luxuriance. 
Wonderfully  adherent,  yet  does  not 
leave  lashes  stiff  or  brittle.    1.00,  1.50. 

Valaze  Eye  Shadow  [Compact  or  Cream 
in  black,  brown,  green  or  blue]  1.00. 

Valaze  Eyelash  Grower  and  Darkener 
promotes  luxuriant  growth  of  lashes 
and  brows.  1.00,  1.50. 

Valaze  Rouges  (compact  or  en  creme) 
impart  a  luscious  bloom  that  actually 
protects  the  skin!  For  daytime  you  will 
choose  gay  piquant  youthful  Red  Rasp- 
berry and  for  evening,  Red  Geranium, 
the  vivid,  the  provocative.  For  the  con- 
servative woman  there  is  the  subtle 
Crushed  Rose  Leaves  1.00. 



Cubist  Lipstick — Helena  Rubinstein's 
newest  cosmetic  creation.  Brings  to  the 
lips  a  softness,  lustre  and  beauty  rivalled 
only  by  the  rare  loveliness  of  its  color- 
ing. In  two  enchanting  shades.  Red 
Raspberry  for  day  and  Red  Geranium 
for  evening.  To  be  chic  one  must  have 
both.  Smart,  enameled  cases,  Golden 
or  Black,  1.00. 

are  masterpieces  of  the  jeweler's  craft! 
Enameled  inJetBlack,  ChineseRed,Jade 
Green  or  Golden.  Double  compact 
2.50,  Golden  3.00,  Single  Compact 
2.00,  Golden  2.50. 

Cleanse  with  Valaze  Pasteurized  Face 
Cream  (1.00).  Clear,  refine  and  animate 
the  skin  with  Valaze  Beautifying  Skin- 
food — Helena  Rubinstein's  skin-clear- 
ing  masterpiece  (1.00).  Brace  the  tissues 
and  tighten  the  pores  with  Valaze  Skin- 
toning  Lotion  (1.25).  Complete  treat- 
ment— a  two  months'  supply — with 
detailed  instructions  (3.50.) 

If  there  are  blackheads,  conspicuous 
pores,  wash  the  skin  with  Valaze  Black- 
head and  Open  Pore  Paste  Special 
(1.00).  This  unique  preparation  gently 
penetrates  the  pores,  ridding  them  of 
all  impurities.  Use  instead  of  soap. 


JSdma /fldinjiem 



8  East  57th  Street,  New  York 
Philadelphia,  254  South  I6th  St.  670  N.  Michigan  Ave.,  Chicago 

Boston,  234  Boylston  Street 

951  Broad  Street,  Newark 

Cosmetic  and  home-treatment  creations  of  Helena  Rubinsleh)  are  obtainable 
at  the  better  shops,  or  direct  from  the  Salons 

Every  .-.dvenlscment  in  PHOTOPLAY  IIAGAZINE  13  guaranteed. 


Read  This  Before 
Asking  ilyestions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address:  only  initials  will  be 
published  if  requested. 

Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  the  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  than  other  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  ail  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 

A.  A.  LtJDER,  Germantown,  Pa. — Glad  to 
ansvyer  your  questions  about  The  Shadow 
Stage.  The  pictures  are  reviewed  by  both  men 
and  women  and  do  not  represent  the  opinion 
of  one  person.  They  are  seen  by  several  mem- 
bers of  Photoplay's  re\-iewing  staff.  Most  of 
the  pictures  are  seen  at  pre-views  either  in 
New  York  or  Los  Angeles.  The  amount  of 
money  spent  on  a  production  does  not  influence 
the  reviewers.  Entertainment  value  is  the 
chief  consideration;  good  acting  and  unusual 
direction  are  other  points  that  place  a  picture 
in  the  "Six  Best."  But  the  principal  test  is 
simply  this:  Is  the  picture  worth  the  time  and 
money  of  Photoplay's  readers?  Thank  you 
for  your  interest. 

TiLLiE  THE  Toiler,  Oswego,  N.  Y. — I  have 
no  wife;  and  if  I  h(ni  a  wife,  her  name  would 
nol  be  Buttercup.  As  for  that  "most  beautiful 
bozo  on  the  screen,"  Johnny  Mack  Brown,  his 
next  picture  is  "The  Little  Angel,"  which 
doesn't  fit  in  with  John's  sLx  foot  figure.  You're 
not  Irish,  are  you? 

C.  A.  J.,  Easton,  Pa.— "Craig's  'Wife" 
wasn't  released  until  Sept.  16,  1928.  It  must 
have  been  someone  else's  wife  that  you  saw  in 
Bethlehem  two  years  ago.  Lon  Chaney's  new- 
est is  "West  of  Zanzibar,"  which  might  or 
might  not  be  "  Kongo."  Banned  stories  have  a 
way  of  slipping  by  under  another  title,  as 
witness  "  Sadie  Thompson  "  and  "  A  Woman  of 
.'\ffairs."  Emil  Janning's  next  is  "The 
Feeder  " 

Mrs.  Irene  Wellot,  Torrence,  Calif. — 
By  film  cutting  is  meant  the  elimination  of 
superfluous  scenes,  duplicate  "takes"  and  un- 
satisfactory "shots."  Sometimes  several  hun- 
dred thousand  feet  of  film  is  exposed  to 
obtain  the  seven  or  eight  thousand  feet  of  the 
finished  picture.  The  business  of  picking  the 
best  scenes  and  building  them  into  dramatic 
sequence  is  quite  a  job.  The  average  salary  of 
an  "extra"  is  seven  dollars  and  a  half  a  day. 
But  an  "extra"  who  gets  three  days'  work  a 
week  is  in  luck.  I  know  of  no  such  juvenile 
Home  in  Hollywood.  The  Studio  Club  is,  a 
home  for  girls,  but  it  is  not  limited  to  girls 
under  eighteen,  nor  are  the  regulations  as 
strict  as  those  you  mention.  Gwen  Lee's  real 
name  is  Le  Pinski  and  she  was  born  in  Hast- 
ings, Neb.  Jacqueline  Logan  is  a  native  of 
Corsicana,  Tex.  Hope  you  win  your  sub- 

L.  S.  C,  Chicago,  III. — Your  friend  wins 
the  bet.  Antonio  Moreno  is  Spanish,  not 
Italian.  He  was  born  in  Madrid,  forty  years 

M.  K.,  New  York,  N.  Y. — Gloria  Swanson, 
not  Dolores  Del  Rio,  played  in  "The  Loves  of 
Sunya."  Dolores  is  twenty-three  years  old, 
five  feet,  four  and  one-half  inches  tall  and 
weighs  120  pounds. 

Just  Another  Blond,  Chicago,  III. — 
Woof,  yourself!  Also  Grrrr  right  back  at  you! 
Don't  bother  your  head  about  all  those  Lind- 
Ijcrgh  matrimonial  rumCirs.  The  newspapers 
just  must  find  something  to  write  about  Lindy. 
Don't  know  where  Joyce  Compton  is  at  present. 
Warren  Burke  was  the  boy  who  played  in 
"Roadhouse."  Write  to  Anders  Randolf  at 
the  Tiffany  Studios,  4516  Sunset  Blvd.,  Holly- 
wood, Calif. 

Marion  B. — Mary  Philbin  was  about  fifteen 
years  old  when  she  first  went  into  the  movies. 
She  has  brown  hair.  Mary  is  an  American  by 
birth,  but  her  ancestors  were  Irish.  Most  of 
the  actresses  on  the  screen  were  poor  girls.  In 
fact,  most  of  the  rich  girls  who  have  tried  the 
movies  have  been  flops. 

AND  still  the  questions  about 
Nils  Asther  come  bouncing 
to  the  desk  of  the  Answer  Man. 
Mr.  Asther  is  twenty-six  years 
old,  and  has  brown  hair  and 
ha:el  eyes. 

Next  in  the  Seven  Most  Per- 
sistent Questions  of  the  Month 
is  Joan  Crawford.  Joan  has  red- 
brown  hair  and  blue  eyes. 

Where  did  the  rumor  start 
that  William  Boyd  has  gray 
hair?    Bill's  hair  is  light  brown. 

Richard  Arlen  is  twenty-nine 
years  old,  has  brown  hair  and 
blue  eyes,  and  weighs  155 

Gary  Cooper  is  American,  not 
English.  Born  in  Helena,  Mon- 
tana, twenty-seven  years  ago. 

Evelyn  Brent  is  twenty-nine 
years  old  and  divorced  from 
B.  P.  Fineman. 

Clara  Bow  is  five  feet,  three 
and  one-half  inches  tall  and 
weighs  115  pounds.  Her  next 
picture  will  be  "The  Saturday 
Night  Kid." 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents,  to  cover  the  cost  of  the 
picture  and  postage.  The  stars, 
who  receive  hundreds  of  such 
requests,  cannot  afford  to  com- 
ply with  them  unless  you  do 
your  share. 

R.  H.  G.,  III. — I  should  think  it  would  be 
practical  to  install  a  talkie  outfit  in  your  town. 
Write  to  any  of  the  motion  picture  companies 
for  the  cost  of  the  installation  and  terms  of  the 
service.  I  can't  give  the  information  in  these 

S.  C,  M.  S.,  E.  McC,  Savannah,  Ga.— I 
don't  know  why  Colleen  Moore  doesn't  curl  her 
hair.  Perhaps  she  thinks  that  her  straight, 
Dutch  bob  is  distinctive.  But  here,  Colleen, 
are  three  girls  who  want  to  know  how  you  would 
look  with  a  finger  wave. 

Happy,  Sandy,  Utah. — W'rite  to  Ray  E. 
Harris  of  the  Wallace  Reid  Memorial  Club 
about  obtaining  a  picture  of  Wallace  Reid. 
Mr.  Harris'  address  is  3625  R.  Street  N.  W., 
Washington,  D.  C.  Thomas  Meighan  has 
dark  hair  and  blue  eyes.  He  weighs  180 
pounds  and  is  49  years  old.  William  Haines 
has  black  hair  and  brown  eyes.  Mary  Pick- 
ford  has  golden  hair  and  hazel  eyes. 

J.  C,  Sioux  City,  Iowa. — If  you  will  write 
to  Adela  Rogers  St.  Johns  in  care  of  Photoplay 
Magazine,  221  West  57th  Street,  New  York,' 
your  letter  will  be  forwarded  to  her.     And  it 

is  "Mrs." 

E.  O.,  New  York,  N.  Y. — "Fascinating 
Youth"  was  Charles  Rogers'  first  picture  and 
twi  the  same  as  "Red  Lips."  "Red  Lips"  was 
reviewed  in  the  May,  1928,  Photoplay  under 
its  original  title,  "Cream  of  the  Earth." 

H.  P.  F.,  Cannelton,  Ind. — Richard  Bar- 
thehness  is  thirty-one  years  old  and  was  mar- 
ried to  Mrs.  Jessica  Sargent  April  20,  1928. 
He's  five  feet,  seven  inches  tall  and  has  brown 
eyes.  Write  to  him  at  the  First  National 
Studios,  Burbank,  Calif. 

A.  G.  B.,  Paris,  Tex. — Well,  since  you  don't 
care  whether  he  is  single,  married  or  divorced, 
I'll  tell  you  that  Ronald  Cohnan  is  neither 
single,  married  nor  divorced.  He's  separated 
from  Thelma  Raye,  who  lives  in  England. 
Ronald  isn't  leaving  the  screen;  you'll  see  him 
next  in  "The  Rescue,"  with  Lily  Damita  as 
his  leading  woman. 

F.  C,  Auburn,  Me. — James  Hall  and  Dick 
Barthelmess  related?    Positively  no! 

R.  A.  H.,  New  York,  N.  Y.— BiUie  Dove  is 
twenty-five  years  old  and  has  dark  brown  hair 
and  dark  brown  eyes.  She  is  five  feet,  five 
inches  tall  and  weighs  114  pounds.  Single- 
minded  woman! 

E,  M.  L.,  New  Iberia,  La. — Elaine  Ham- 
merstein  and  William  Haines  played  in  "The 
Midnight  Express."  Jack  Mulhall  is  thirty- 
seven  years  old  and  his  pretty  wife  is  Evelyn 
Winans — not  in  the  movies. 

(  continued  on  page  102  ] 


Gossip  of  All  the  Studios 


Yiddish  character  actor,  is  now  under  contract 
to  Fox.  Of  course  a  moniker  such  as  Muni 
Weisenfrund  would  be  ridiculous  on  the  screen, 
so  studio  executives  went  into  a  huddle  and 
decided  to  call  him  Muni  Wise.  One  executive 
filed  a  minority  vote,  however,  claiming  that 
the  public  would  quickly  change  this  to  Money 
\\'ise.  Bad  psychology,  he  said.  So  now  they 
call  him  Paul  Muni. 

NICK  STUART  and  Sue  Carol  have  had 
great  fun  making  "Chasing  Through 
Europe."  Night  after  night  Sue  and  Nick 
rode  up  and  down  the  canals  of  Venice,  in  the 
most  romantic-looking  gondolas  they  could 
hire.  WTien  Director  Dave  Butler  would  take 
them  to  task  for  being  la^e  next  morning,  their 
response  would  be; 



Two  exercises,  posed  by  Mary 
Doran,  that  should  be  part  of 
every  daily  dozen.  In  this  exer- 
cise, first  one  leg  is  brought  for- 
ward, then  the  other;  and  then 
both  together,  so  that  you  reach 
this  position 

"We  rehearsed  our  lo\e  scenes  until 
quite  late  last  night." 

TOM  TYLER  calls  our  atten- 
tion to  the  fact  that  a  number 
of  couples  who  spent  their  first 
honeymoon  on  the  beach  are 
spending  their  second  on  the 

T  ILY  D.\MIT.\  speaks  English  with 
■'-'  a  delightful  French  accent.  Some  of 
her  friends  are  teaching  her  the  latest 


The  course  is  just  one  long  sand  trap  in  this  game  of  beach 
golf.  It's  a  new  gag  now  adding  interest  to  the  scenery  along 
Santa  Monica  beach.  The  players  are  Raquel  Torres,  about 
to  sink  a  put;  Dorothy  Janis,  holding  the  flag;  and  Mary 
Doran,  waiting  her  turn 

She  rattles  the  words  off  glibly,  but 
with  Uttle  idea  of  their  meaning.  We 
suggested  that  she  have  Mr.  Goldwyn 
pass  on  them,  as  we  wouldn't  like 
to  guarantee  that  they  are  all  "cor- 
rect as  hell"  .  .  .  this  last  expression 
being  one  of  the  number  she  knows. 

LILY'S  mother  is  in  Paris  selling  her 
daughter's  two  establishments.  Tha.t 
leaves  poor  Httle  Lily  all  alone  at  the  Roosevelt 
Hotel  to  battle  cruel  Hollywood  without  a 
mother's  guiding  hand. 


F  you  can't  find  Lily  and  Mrs.  Sam  Goldwyn 
in  the  usual  places  you  can  look  for  them  at 
an  ice  cream  parlor,  where  LUy  sneaks 
away  to  indulge  in  the  forbidden  sweets. 

A  WELL-KNOWN  actor 
had  played  the  famous 
Afro-American  game  of  craps 
for  eight  consecutive  hours. 
The  toaees  of  his  trousers 
showed  wear.  When  his  wife 
questioned  him  he  answered, 
"I  was  out  with  Al  Jolson 
singing  'Mammy.'  " 

WHEN  Lupe  Velez  and  William 
Boyd  were  playing  together  in 
"The  Love  Song,"  Boyd's  wife,  Elinor 
Faire,  spent  most  of  her  spare  time  on  the 
set.  It  may  have  been  that  she  was 
interested  in  the  production  and  then., 
again,  it  may  have  been  that  Boyd 
brought  her  along  for  protection 
against  the  fiery  Velez. 

[  CONTINUED  ON  PAGE  88  ] 

The  first  exercise  helps  to  keep 
the  legs  slender  but  shapely. 
This  one  is  your  old  favorite  of 
touching  the  floor  with  your 
hands.  Only  most  people  cheat 
and  bend  their  knees.  And 
that's  no  way  of  getting  thin 

Photoplay  Magazine — Advertising  Section 


*1  light  a  Lucky  and  go 
light  on  the  sweets* 

That's  how  I  keep  in  good 
shape  and  always  feel  peppy. *^ 

Al  Jolson 

Famous  comedian 
and  star  of  song. 

Reach  for 

a  Lucky 
instead  of    ^ 

a  sweet. 

Al  Jolson 

as  he  appears  in 
Warner  Bros. 
Vitaphone  suc- 
cess, "The  Sing- 
ing Fool." 

SOMETHING  sensible.  "Better  to 
light  a  Lucky  whenever  you  crave 
sweets."  It  brings  to  men  the  health  and 
vigor  that  come  with  avoiding  over- 
weight. To  women  it  offers  a  slender, 
fashionable  figure.  And  all  it  means  is 
a  few  puffs  of  a  Lucky  Strike  when  you 
are  tempted. 

20,679  physicians  have  stated  that 
Lucky  Strike  is  less  irritating  to  the 
throat  than  other  cigarettes.  Very  likely 
this  is  due  to  toasting  which  removes 
impurities.  This  same  process,  toasting, 
improves  and  develops  the  flavor  of  the 
world' s  finest  tobaccos.  This  means  that 
there  is  a  flavor  in  Luckies  which  is  a 
delightful  alternative  for  the  things  that 
make  you  fat.  That's  why  "It's  Toasted" 
is  your  assurance  that  there's  real  health 
in  Luckies — they're  good  for  you  ! 

Keep  fit — reach  for  a  Lucky  instead  of  a 
sweet.  That's  what  many  men  have  been 
doing  for  years.  They  know  the  evidence 
of  prominent  athletes  whose  favorite 
cigarette  is  Lucky  Strike  and  who  say 
Luckies  do  not  harm  the  wind  nor  im- 
pair the  physical  condition. 

Why  not  give  it  a  trial  ?  The  next  time 
you  are  tempted  to  eat  between  meals 
or  crave  sweets,  go  light — light  up  a  Lucky 

It's  toasted 

No  Throat  Irritation-No  Cough. 

)  1928,  The  American  Tobacco  Co..  Manufacturers 

Whon  you  write  to  ajvertlsers  please  mention   PHOTOPLAY  MAGAZINB. 

Gossip  of  All  the  Studios 


A  FEW  months  ago  Harry  Crocker  opened  a 
motion  picture  museum  in  Hollywood. 
He  will  close  it  January  1st. 

The  biggest  day's  business  was  $7.00. 

One  woman  drove  up  to  the  place  in  a  fine 
big  car  with  a  chauffeur,  stepped  out  with  two 
friends  to  visit  the  museum,  but  became  abso- 
lutely horror-stiicken  when  told  that  the  price 
of  admission  was  twenty-five  cents.  "Oh, 
my  land,"  she  said,  "we're  just  out  for  a  drive 
and  we  thought  it  was  free." 

Somebody  said  to  Harry,  "It  seems  a  pity, 
Mr.  Crocker,  that  Hollywood  won't  support 
a  venture  as  fine  and  clean  as  this."  "I 
guess  that's  what's  the  matter  w-ith  it,"  replied 
Mr.  Crocker,  rather  sadly. 

THE  kitchen  in  the  restaurant  at  the  M.-G.- 
M.  studio  caught  fire  a  short  time  ago  and 
half  a  dozen  fire  engines  dashed  into  the  studio 
in  response  to  the  alarm.  Hose  was  laid,  asbestos 

International  Newsreel 

When  three  little  girls  from  Brooklyn  f;iced  the  camera 
together  for  the  first  time.  The  baby  in  the  center  is  Con- 
stance Talmadge.  At  the  right  is  Norma,  then  five  years 
old.  And  at  the  left  is  Natalie  Talmadge  Keaton,  three 
years  old 

When  we  were  very  young. 
At  the  age  of  three  months, 
Mary  Brian  was  not  Mary 
Brian  of  Hollywood.  She 
was  little  Louise  Dantzler, 
just  one  of  the  neighbor's 
children  in  Corsicana,  Texas 


•-Douglas  Fairbanks  jour- 
neyed to  Washington  tosettle  a  little 
argument   with  Uncle  Sam   about 
their  income  tax.      This  unpleasant- 
ness over,  President  CooUdge  invited 
them  to  luncheon. 

When  you  get  in  trouble  with  your  in- 
come tax,  does  the  President   ask  you  in 
for    a    meal?      This  httle    incident    only 
proves  once  more  that  it's  great  to  be  a 
movie  star. 

MILTON  SILLS  is  wearing  an  atrocious 
beard  while  playing  in  "Changeling."  As 
a  result,  he  has  let  himself  in  for  a  lot  of  good- 
natured  ridicule.  Even  his  wife  pokes  fun 
at  him.  When  Doris  bobbed  her  hair,  she 
carefully  wrapped  that  portion  which  was  cut 
off  and  mailed  it  to  Milton  with  the  inscrip- 
tion, "For  bigger  and  better  beards." 

ACCORDING  to  a  Poverty  Row 
"fillum  magnet,"  an  author  is  a 
"fellah    with    a    good    remembery." 

X_rEADLINES     in     Los     Angeles 
-•-  ■^-announced  the  arrival  of  Wm.  J. 
noted  novelist,  as  follows: 
W.  J.  LOCKE,  65 



[  CONTINUED  ON  PAGE  103  ] 


blankets  were  jerked  out  of  fire  trucks  and 
extinguishers  were  rushed  to  the  scene,  but 
the  chief  of  each  company  had  his  own  idea  of 
how  to  extinguish  the  flames. 

They  all  stood  on  the  roof  of  the  burning 
building,  arguing  on  how  to  proceed. 

"WeU,"  said  W.  S.  Van  Dyke,  M.-G.-M.'s 
traveling  director,  as  he  watched  the  row, 
"looks  like  another  story  conference!" 

LAURA  LA  PLANTE  pulled  a  fast  one  on 
Universal  this  week.  It  seems  their  contract 
with  her  makes  allowance  for  a  few  weeks' 
lay-off  in  the  year.  She  had  just  finished  "Show 
Boat,"  and  was  scheduled  to  begin  "The 
Haunted  Lady"  very  shortly.  She  was  all 
primed  for  wardrobe  fittings  for  the  new 
picture,  when  notice  came  th^-t  she  could  have 
two  weeks'  vacation.  Nothing  pleased  Laura 
npre.  A  few  hours  later  she  had  chartered  an 
airplane  and  was  on  her  way  to  New  York. 

This  was  the  last  thing  Universal  had  ex- 
pected, as  their  plans,  it  appears,  had  been  for 


a  lay-off,  without  pay,  with  Laura 
standing  hours  every  day  for 

I  was  faithful  without 
Norma,  since  your  star 
was  bom! 
Then  you  up  and  mar- 
ried Irving! 
You  the  Shearer — 
I  the  shorn. 

Cecil  De  Mille,  with  his  big 
brother,  William.  Cecil  is 
the  four-year-old  lad  with 
the  curls  and  the  flowers, 
and  William,  aged  eight,  is 
holding  the  dog 

Photoplay  Magazine — Advertising  Section 

"The  Shady  Lady 

A  New  Pathe  Production 



See  Phyllis  Haver  at  her  best  in  this  new  Pathe 
production.  Note  in  particular  her  marvelous 
skin — how  well  it  shows  up  in  the  picture. 

Then  read  below  how  she  cares  for  that 
skin — with  Boncilla.  Many  a  star  on  the  stage 
and  screen  could  tell  a  similar  story.  Fo'r  the 
women  whose  careers  depend  on  charm  and 
beauty  do  not  omit  this  supreme  aid. 





WBKl-}  sBKBm 




^^L                                                   ^'.-.;^^| 





PHYLLIS  HAVER,  Pathe  Star,  10  ''The  Shady  Lady" 


Preparing  for  "The  Shady  Lady" 

The  first  step  in  preparing  for  a  pic- 
ture is  Boncilla  clasniic  pack.  That 
cleans  the  skin  to  the  depths,  gives  a 
rosy  glow  and  an  animateci  look.  When 
that  is  removed,  Boncilla  Cold  Cream 
is  applied.  Then  Boncilla  Vanishing 
Cream  as  a  powder  base.  Then  the  ex- 
quisite Boncilla  Powder  of  the  shade 


*'I  use  Boncilla  regularly.  With  all  the 
arduous  location  sets  we  have  to  make, 
the  exposure  of  the  skin  to  all  ele- 
ments, the  constant  use  of  cold  cream 
and  greasy  paints,  Boncilla  keeps  my 
skin  soft  and  velvety." 

The  Pretty  Lady 

Prepare  for  ICour  Part --Tonight 

ROMAN'S  great  part  in  social  spheres 
.  is  to  play  The  Pretty  Lady.  The 
best  way  to  prepare  is  the  same  as  for 
stage  parts.  The  rewards  are  the  same — 
success  and  applause. 

Don't  depend  alone  on  cosmetics. 
Before  them  must  come  the  right  foun- 
dation—  a  clear,  clean,  glowing  skin. 
Before  the  make-up  use  this  wake-up — • 
the  greatest  beauty  aid  in  existence. 

All  in  30  Minutes 

Prepare  in  this  way  for  a  social  evening 
when  you  wish  to  look  your  best.  It  will 
multiply  your  beauty  and  your  charm. 

Apply  Boncilla  clasmic  pack  to  the 
face  and  neck.  Rest  while  it  dries.  At 
once  you  will  feel  it  draw.  That  means 
it  is  fairly  sucking  from  the  pores  what- 
ever clogs  or  mars  the  skin.  It  is  draw- 
ing out  the  dirt  and  grime,  dead  skin  and 
hardened  oil.  It  is  removing  the  causes 
of  blackheads  and  blemishes. 

Old  make-up  is  absorbed.  At  the  same 
time,  the  blood  is  drawn  to  the  surface 
to  nourish  and  revive  the  skin.  When 

you  remove  the  Boncilla  clasmic  pack 
the  results  will  amaze  you — ■ 

A  radiant  glow, 

All  animated  look, 

A  clear,  clean  skin, 

A  soft,  smooth  skin. 

In  30  minutes  you  will  see  results  which 
ordinary  methods  cannot  bring  in  years. 
And  there  is  no  other  way.  Boncilla  is 
the  only  clasmic  pack.  It  is  so  unique  and 
effective  that  beauty  experts  the  world 
over  import  it  as  their  leading  beauty 
aid.  No  girl  or  woman  can  afford  to 
sacrifice  the  charm  which  Boncilla 
brings.  Never  will  YOU  do  so  when  you 
know  it. 

Four  for  loc 

Boncilla  clasmic  pack  is  sold  at  all 
toilet  counters  in  jars  for  S3. 50  and  $1.50 
and  in  tubes  for  SI  .00.  Or  the  coupon, 
with  10c  for  mailing,  will  bring  you  a 
one-week  test.  With  it  will  come  the 
two  creams  and  the  powder  which  go 
with  it.  A  box  of  beauty,  just  for  mail- 
ing cost.  Clip  coupon  now. 

For  Cheeks 
Like  Roses 



BONCILLA— Indianapolis.  Ind. 

Mail  me  a  one-week  treatment  of  Boncilla  with  the  three 
helps  which  go  with  it — four  samples.  I  enclose  a  dime. 


Address . 


If  you  live  in  Canada,  mail  coupon  with  10c  to  Canadian 
Boncilla  Laboratories.  Ltd..  77  Peter  Street,  Toronto 


Whco  jou   write  to  advertlsel^   please  mention  rnilTOPLJlT   MAGAZINia 

The  Studio  Murder  Mystery 


dried  up  wisp  of  a  man  in  rough  clothing. 
Over  the  latter's  shoulder,  suspended  on  a 
heavy  string,  hung  a  circular  machine,  which 
identified  the  man  immediately  as  the  night 
watchman.  Lannigan.  for  it  was  he,  stood 
with  his  sharp  little  eyes  peering  monkej'wise 
from  Rosenthal  to  Smith.  The  president 
motioned  him  to  a  chair,  and  he  sat  down, 
plainly  overcome  at  being  admitted,  and  seated 
in  the  holy  of  holies.  At  Captain  Smith's 
words,  however,  his  shifting  glances  came  to 
rest  steadily  upon  his  questioner. 

"You  "re  Lannigan?" 

"Yissor.   Patrick  Lannigan." 

"You  are  the  night  watchman  of  this  studio?" 

Lannigan  straightened  his  bony  shoulders, 
and  there  was  an  air  of  truculency  in  his  man- 
ner as  he  replied, 

"I  am  thot!" 

"Is  that  the  time  clock  you  used  last  night, 
on  your  back?" 

"CURE,  it's  the  wan  I  always  use.    Yis,  it's 
•^me  time  clock.  .  .  ." 

"Can  you  open  it  and  take  out  the  tape?" 

"That  I  cannot.  'Tis  the  head  fireman  who 
does  that." 

"All  right.  Clancy,  take  that  clock  over 
and  have  it  opened.  Bring  back  the 

As  Clancy  reached  for  the  clock,  Lannigan 
swung  himself  away.  His  face  instantly  took 
on  that  expression  so  typical  of  his  sort  ...  a 
sullen,  closed  look.  Smith  saw  he  was  to  have 
trouble  prying  anything  out  of  this  man. 
Neither  would  it  do  any  good  to  tell  him 
"poHce  business."  That  would  only  seal  liis 
hps  the  tighter.  His  kind  had  an  instinctive 
and  instant  resentment  of  the  law. 

"  Lannigan !"  spoke  the  president  of  Superior 
Films  sharply,  "I  vish  you  to  give  your  clock  to 

"Oh  .  .  .  and  an  officer,  is  it  now?"  said 
Lannigan,  with  drawling  sarcasm. 

"I  vish,  also  that  you  answer  what  questions 
Mr.  Smith  vill  ask  you.  He  is  Captain  of 
Detectives,"  added  Rosenthal  sternly.  But 
this  announcement  made  no  apparent  im- 
pression on  the  little  Irishman.  He  only 
darted  one  of  his  swift  bright  glances  at  Smith, 
and  his  long  upper  Kp  tucked  down  tighter 
over  his  nether  one. 

"I'll  be  answering  no  questions  till  yez  tell 
me  why  the  likes  of  him  is  after  taking  me 
clock  away,  and  what  for  I  am  hauled  out  of 
me  bed  to  come  here  this  rime  o'  day!" 

Rosenthal  started  to  speak,  but  Smith  held 
up  his  hand,  silenc- 
ing him.  It  would 
take  tact  to  handle 
this  belligerent  little 
Irishman  .  .  .  not 

"  Lannigan,  get 
this  straight.  I  don't 
beheve  you  haveany- 
thing  to  do  with  this 
matter  .  .  .  with  the 
reason  why  I  am  out 
here.  But  I  do  be- 
lieve you  can  help 
me  a  lot!  A  detec- 
tive, Lannigan,  is  at 
the  mercy  of  the 
people  he  questions. 
You  could  tell  me  a 
long  string  of  things 
that  didn't  happen 
at  all,  and  it  would 
cause  me  a  lot  of 
time  and  trouble  to 
get  the  truth  of  it. 
I'd  get  it.  Never 
fear    that.      But    it 

would  considerably  inconvenience  me.    I  don't 
think  you  want  to  do  that,  do  you?" 

Lannigan  did  not  answer.  It  was  evident  it 
made  no  difference  to  him  how  much  he  incon- 
venienced the  detective.  Smith  continued  to 
look  pleasantly  at  the  man,  tapping  his  chair 
arm  thoughtfully  with  his  pencil,  his  little  red 
notebook  open  on  his  knee.  Musingly,  his 
eyes  went  down  to  it.  Then,  when  he  looked 
up  there  was  a  quickened  e.xpression  in  them. 

"Lannigan,  I'\e  always  wanted  to  hear  a 
banshee.    Did  you  ever  hear  one?" 

The  watchman  looked  at  him  searchingly, 
quick  to  detect  if  the  other  was  poking  fun  at 
him.  He  found  only  serious  and  sincere 
curiosity  in  Smith's  face.  For  a  moment  he 
struggled  with  the  resolution  to  keep  silence, 
then,  as  if  to  burst  involuntarily  from  him, 
came  the  statement,  in  a  lowered  voice, 

"Well,  sor,  and  what  would  you  think  if  I 
was  to  tell  you  I've  heard  one  meself?" 

"I'd  believe  you,  Lannigan.  Where  was  it 
you  heard  it?" 

"On  this  very  lot,  sor.  So  late  as  last  night, 

"Hm  ...  I  thought  so,"  mused  Smith. 
"I've  heard  that  sound  described  many  times, 
Lannigan,  but  ne\-er  by  a  person  who'd  heard 
one  so  recently  as  you  say  you  have.  I'd 
appreciate  your  telling  me  what  it  was  like." 

"There's  nothing  hke  it,  sor,  except  maybe 
the  scream  of  a  woman  scared  half  out  o'  her 
wits  ...  or  maybe  the  yowl  of  a  domn  cat. 
It  fair  raises  the  hair  on  yer  head,  sor!" 

"I  .  .  .  thought  so  .  .  ." 
murmured  the  detective  again. 
Then,  "Lannigan,  what  time 
did  you  hear  the  banshee?" 

"Well,  it  must  have  been 
around  12:30  this  mornin'.  I 
had  just  started  on  me  12:30 
round.      I    usually    ends    me 

Jimmy,  the  office  boy,  worshipped  Billie  West.  Billy  was  a 
war  ace  and  he  had  killed  the  enemy  from  the  air.  He  was  a 
being  set  apart.  But  today  Jimmy  failed  to  note  West's 
approach,  as  he  sat  hunched  strangely  in  a  chair  behind  the 
rail  which  divided  the  privileged  from  the  unprivileged  in 
Rosenthal's  office.  "I  promised  not  to  tell  anyone,"  Jimmy 
whispered  .  .  .  "Hardell's  murdered  on  Stage  Six.  I  .  .  . 
kicked  him!" 

round  at  Stage  Six  on  the  hour,  sor,  but  this 
time  I  struck  straight  across  the  lawn,  and 
over  to  Stage  Six  first,  to  see  what  ailed  the 
light  at  the  East  entrance,  which  had  wint  out 
the  round  before.  ...  I  found  'twas  a  burnt 
out  globe.  So  I  straightway  turns  back  to  the 
store  room  to  get  a  new  one.  Just  as  I  reached 
the  end  of  Stage  Six,  I  heard  the  banshee." 

"  A  ND  you're  sure  it  was  12:30?" 

-'*■     "Yis  sor,  but  more  likely  it  was  12:40. 

An\'ways,  it  was  not  beyond  that  time,  fer  I 

had  just  come  back  from  me  lunch  across  from 

the  studio,  which  same  I  wint  over  to  eat  right 

after  Seibert  and  Hardell  left  the  lot,  which 

same  time  was  at  12:17.  .  .  ." 

"How  do  you  know  that?" 

"By  me  clock,  sor.    I  laid  it  by  whin  I  wint 

to  eat,  it  bein'  heavy  and  in  the  way.    When 

I  laid  it  down  I  glanced  at  it  like  I  always  do, 


"Lannigan,  how  are  your  rounds  scheduled?" 

"I  leaves  the  gate,  where  I  starts,  on  the 

half-hour.    I  goes  straight  around,  and  makes 

it  back  to  Stage  Six  by  the  hour.    Then  I  cuts 

straight  back  to  the  gate,  and  chats  a  bit  with 

MacDougal.     Usually,  though,  sor,  me  time 

between  is  taken  up  doin'  odd  jobs  about,  so 

that  me  time  at  the  different  stages  isn't  always 

the  same.     Sometime?  I  makes  it  right  on 

schedule,  and  sometimes  I 


"What  kind  of  odd 
jobs,  Lannigan?" 

"Oh,  pickin'  up  after 
them  domn  spalpeens . . ." 
he  stopped  to  shoot  a  de- 
fiant look  at  RosenthaL 
"Begging  yer  pardon,  sor 
. . .  but  they  do  be  domned 
careless.  Some  of  thim 
leaves  lights  in  their 
dressing  rooms  and  offices. 
Electric  fans  goin'  in  the 
sununer,  and  electric  heat- 
ers in  the  winter.  And, 
would  yez  believe  it  or  not, 
many's  the  time  I  have 
to  shut  off  the  faucets  in 
the  lavatories.  ..." 

"Yes,  yes,  I  under- 
stand, Lannigan. 
Some  people  are  very 
careless.  Now,  I 
want  you  to  tell  me 
exactly  what  hap- 
pened on  this  lot 
last  night,  from  the 
time  you  came  on 
until  you  left." 

"May  I  ask,  sor, 
what  it's  all  about?" 
"I'U  tell  you  later. 
It  was  a  nasty  night 
out  here,  and  plenty 
of  opportunity  for 
things  to  happen . . ." 
"It  was  a  grand 
night  for  a  murther, 
sor,  as  I  told  Mac- 

Smith  laughed. 
"You    said    that, 
did  you  Lannigan?" 
"I  did,  sor,  and  I 
meant  it!" 

Smith  checked  a 
desire  to  banter 
further  with  the  little 
man.  He  sat  back, 
and  composed  him- 
self to  hsten.     Lan^ 

PAGE  115  ] 


Photoplay  Magazine — Advertising  Section 


Marffo/  Lanilbcrg 
hv  North  n, 

Slockhoim,  Sttcdcn 


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M  A  P^G  O  T    L  A  N  D  B  E  r^G  '^    /3i'ar///ll'e 
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Like  so  many  women  from  the  North,  I  have  a 
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•^Tien  you   write  to  advertisers  please   mention  PTT0T0PI..4T  MAGAZINE. 

The  Shadow  Stage 


Swedish  Biograph 

THIS  was  the  only  European  film  appearance 
of  Greta  Garbo  before  she  was  sold  down 
the  river  to  Hollywood.  Moreover,  it  was 
directed  by  the  brilliant  Mauritz  Stiller,  who 
discovered  her.  It  need  only  be  said  that 
Hollywood  has  made  the  Glamorous  One.  In 
this  picture  she  photographs  execrabl}',  and 
acts  like  an  anemic  clam.  Stiller  work  is  in 
evidence,  and  there  is  a  good  performance  by 
Lars  Hanson.  You  won't  die  in  vain  even  if 
you  miss  this  one. 


A\'ERV  smart  picture  of  modern  life  in 
wliich  we  have  flappers  and  reformers  and 
bootleggers  and  cabarets  and  cops  and  the 
ritzy  part  of  the  underworld.  The  picture  is 
well  cast,  with  Dorothy  Reviere  and  Victor 
Varconi  in  the  principal  parts.  John  Adolphi's 
direction  is  flawless.  The  story  goes  as  follows : 
A  high  school  teacher,  forced  to  care  for  a  Maj-- 
ward  sister,  works  daytimes  at  school  and 
nighttimes  in  a  night  club.  The  mother  of  one 
of  her  pupils  is  a  reformer  and  sets  out  to  clean 
up  the  night  clubs.  This  brings  complications. 
And  such  comphcations!  The  lady  reformer's 
daughter  is  discovered  as  one  of  the  club's 
drunkards,  while  her  son  is  the  power  behind 
the  rum  ring.  An  O.  Henry  finish  ends  the  story ! 


MOST  Westerns  are  quite  irritating,  but 
this  one  isn't,  probably  because  it  makes 
no  obvious  attempt  to  set  the  world  on  fire.  It 
ambles  along  most  amiably,  through  the  most 
palatable  plot  in  the  horse-opera  category.  A 
rich  young  sportsman  from  New  York  goes 
West  to  puU  his  father's  ranch  together.  The 
villainous  foreman  objects,  and  the  hero  falls 
into  all  the  trouble  in  the  world — including 
love.  Starlight  and  a  cute  collie  furnish  the 
animal  relief. 


THIS  pestilential  Western  sheds  the  last 
vestige  of  logic  when  the  one-and-only  Tom 
Mi.x  leads  a  cowboy  band  into  the  Arabian 
Desert  to  find  his  one-and-only's  father.  The 
sheik's  a  lustful  old  meanie  about  the  girl. 
While  Tom,  in  a  burnous — can  you  cope  with 
it? — goes  to  her  rescue,  his  rival  sells  out  to  the 
Arabs.  Customary  Mi.x-isms  stem  the  tide  of 
tragedy,  but  the  whole  thing  is  utterly  ridic. 


ANOTHER  newspaper  story  about  the  same 
cub  reporter  making  the  same  big  scoops. 
You've  seen  it  over  and  over  again,  yet  this  is 
so  skillfully  done  that  you  find  yourself 
absorbed  to  the  very  end.  Without  its  being 
done  obviously,  you'll  get  a  perfect  idea  of  how 
a  big  newspaper  is  "put  to  bed."  Douglas 
Fairbanks,  Jr.,  and  Jobyna  Ralston  are  a 
charming  couple,  the  personification  of  the 
spirit  of  youth.    You'll  enjoy  this. 


OCCASIONALLY  small  producers  bite  off 
enough  drama  to  choke  an  elephant,  but 
somehow  Robert  Frazer  manages  to  handle 
this  story  in  a  convincing  manner.  It's  built 
around  the  wheat  pits  of  Chicago.  A  man, 
nearly  ruined  by  the  influence  of  a  radical  girl, 
is  eventually  inspired  to  great  accomplish- 
ments by  the  wheat  king's  daughter.    Barbara 

Bedford  is  excellent  as  the  radical,  and 
Jacqueline  Gadsdon  is  adequate  as  the  wealthy 
girl.    Fair  entertainment. 


WE  knew  it  was  coming.  After  the 
"butcher  boy"  came  into  his  own  as  a  gay 
Lothario,  we  knew  plodding  husbands  would 
take  notice.     The  husband  in  this  picture  is 

Why  the  trip  to  Hawaii  is  such  a 
popular  way  of  spending  a  vaca- 
tion. Dorothy  Mackaill  keeps  up 
her  exercises  on  the  deck  of  the 
S.  S.  Los  Angeles,  on  a  location  trip 
to  the  Pacific  island  to  film  scenes 
for  "Changeling" 

taunted  by  his  plumber  for  being  such  a 
namby-pamby,  whereupon  the  henpecked  man 
calls  the  plumber's  bluff,  installing  liim  as  head 
of  the  family,  pro  tem. 

SOUTH  OF  PANAMA— Chesterfield 

Raquello  in  a  gay,  fast-moving  adventure 
picture  that  seethes  with  suppressed  revolu- 
tions. Things  are  slow  in  the  gun-running 
business,  so  an  .American  profiteer  sends  his 
darkly  romantic  underling  to  a  fly-by-night 
Latin  republic  to  stir  up  a  war.  He  almost  suc- 
ceeds when  he  falls  in  love  with  the  president's 
daughter.  Then  he  goes  into  reverse  gear  and 
tries  to  undo  all  the  dirty  work. 


T^HIS  picture  is  nothing  to  write  home  about. 
■'■  A  man  and  a  girl  inherit  a  ranch  jointly,  but 
suspicion  points  to  the  man  as  the  murderer  of 
the  former  ranch  owner.  The  picture  relates 
how  he  clears  his  name  and  exposes  the  mur- 
derer. There  is  an  engaging  boyishness  about 
Tom  Tyler's  smile,  and  a  sincerity  in  all  that 
Frankie  Darrow  does,  but  this  story  is  an 
obviaus  one,  too  thin  for  adult  audiences  and 
not  thriUing  enough  for  children. 


A  RE  the  movies  in  their  second  childhood, 
-'•-or  is  history  merely  repeating  itself?  In- 
dians and  prairie  settlers  after  each  other's 
scalps,  bloody  tomahawks,  torture  fires,  buck- 
skin-clad whites,  rescuing  beautiful  blondes, 
wholesale  bloodshed  .  .  .  epic  stuff,  fifteen 
years  ago.  But  Colonel  Tim  McCoy  can  dis- 
inter the  stalest  movie  plot  and  show  you  what 
grandpa  should  have  done.  Made  on  the 
Federal  Indian  Reservation  in  Montana,  extras 
were  recruited  from  local  redskin  circles. 

THE  HARVEST  OF  HATE— Universal 

'"PHIS  picture  had  possibilities,  but  the  star, 
-'-  Rex,  the  wild  horse,  is  again  pushed  to  the 
background  to  develop  romance  between  a  boy 
and  a  girl.  Rex  should  have  had  his  chance 
with  the  pretty  white  horse.  Starlight,  but  who 
is  going  to  fight  for  the  horse's  rights  when 
Jack  Perrin  and  Helen  Foster  are  playing  in 
the  picture?  The  result  is  an  opus  that  is 
neither  fish  nor  fowl.  Only  children  will  be  in- 
terested in  this. 

KING  OF  THE  RODEO— Universal 

A  FEW  more  pictures  of  this  type  and  Hoot 
Gibson  will  be  playing  a  lone  hand  in  the 
field  of  Westerns.  This  is  crammed  full  of 
rodeo  thrills — and  real  ones  at  that.  Not  a 
new  story  but  refreshingly  handled.  A  ranger 
father  desires  a  different  life  for  his  son  and 
plans  it  accordingly,  but  the  boy  loves  horses 
and  stays  with  them.  DeUghtful  comedy 
throughout  and  the  best  picture  Hoot  has  made 
in  a  coon's  age. 

DRIFTWOOD— Colum  bia 

A  PALE  shadow  of  Sadie  Thompson,  ■  in 
which  MarceUne  Day  portrays  a  lady  of 
uncertain  past  and  even  more  doubtful  future. 
She  wanders  to  the  isle  of  Luva,  inspiring  the 
white  king  who  owns  it  with  the  desire  to  add 
her  to  his  possessions.  To  defeat  his  shady 
plans,  she  marries  the  community  drunkard. 
A  derelict  and  an  outcast — flotsam  and  jetsam 
on  the  tropic  tide.  A  mediocre  picture,  with  a 
plot  as  aimless  as  driftwood. 


ANOTHER  story  of  show  folks.  The  at- 
tempt at  poignancy  falls  short.  After  all 
that  has  gone  before,  can  you  get  e.xcited  over  a 
clown  with  a  broken  heart?  With  the  im- 
mortal "Stella  Dallas"  to  her  credit,  it  seems  a 
pity  that  Belle  Bennett  should  be  given  such  a 
slight  situation  upon  which  to  work.  Joe 
Brown  is  best  in  the  vaudeville  act,  which  is 
part  of  the  story. 


A  DYING  mother  exacts  a  promise  from  her 
older  son  that  he   will   stand   by    baby 
brother  until  he  "makes  the  Varsity."    This 


Photoplay  Magazine — Advertising  Section 

was  much  too  much,  for  the  Varsity  shouldn't 
have  been  "made."  Notwithstanding  the  fact 
that  the  football  sequence  was  directed  by  an 
experienced  coach,  the  balance  of  the  story  is  so 
preachy,  you  had  belter  stay  home  and  get 
your  game  over  the  radio. 


BOB  STEELE'S  newest  picture  dwindles  off 
to  a  disappointing  finish.  The  agile  Bob 
plays  a  daring  fellow  with  a  flair  for  the  high 
places,  sucli  as  aeroplanes  and  parachutes.  So 
his  disapproving  father  packs  him  off  to  the 
family  lumber  camp  to  cure  his  aviation  com- 
plex. Which  cures  the  kid,  but  spoils  the 


T.AMES  MURRAY  in  a  realistic  yet  pictur- 
Jesque  story  of  crooked  fight  promoters  in  an 
oil  town.  The  young  promoter  adopts  a  fresh, 
freckle-faced  orphan,  to  get  in  right  with  the 
townsfolk  whom  he  plans  to  "gyp."  Jack 
Hanlan,  a  ten-year-old  actor,  hitherto  un- 
known on  the  screen,  walks  away  with  the 
picture.  Barbara  Kent,  completely  w-inning, 
as  usual,  shares  honors  with  Murray. 

THE  CAVALIER— Tiffany-Stahl 

npHIS  is  another  of  Richard  Talmadge's 
■*■  frenzied  attempts  to  out-Doug  Doug  Fair- 
banks. The  sturdy  star,  as  a  Spanish-American 
Robin  Hood  who  robs  the  Dons  and  protects 
the  Indians,  does  impossible  leaps  and  climbs — 
all  to  save  the  pretty  per.^on  of  Barbara  Bed- 
ford from  an  odi  lus  marriage  to  a  wealthy 
nincompoop.  A  pretty  picture,  with  some  hot 
riding,  but  old-fashioned  and  imitative.  There 
is  a  synchronized  Photophone  score  by  Dr. 
Riesenfeld.  Its  feature  is  the  astonishing  feat 
of  Mr.  Talmadge  who,  as  the  Spaniard,  sings  a 
love  song  in  perfect  English  without  opening 
his  mouth. 


TT'S  a  difficult  proposition  for  a  professional 
-^gambler  and  thief  to  mend  his  waj's  and 
right  about  face  for  twenty  years  without  a 
slip.  That's  what  our  hero  does,  only  to  be 
confronted  with  his  past  record  at  the  most 
critical  point  in  his  career.  Certainly  he 
stands  the  test.  Don't  Western  pictures  all 
end  properly?  Love  interest  furnished  by 
Jeanette  and  Don  Coleman.  Okay  for  in- 
expensive amusement. 

Sound  Pictures 

[  CONTINinjD  PROM  PAGE  5S  ] 



"Yji  7"E  hope  that  they  make  a  lot  more  talkies 
"^  like  this  one  and  then — goody,  goody! — 
maybe  they  won't  make  any  more!  Now 
wouldn't  that  be  just  dandy?  It  is  all  very 
crude  and  unreal.  The  characters,  as  usual, 
seem  to  speak  from  their  vest  pockets.  Otto 
Matieson  gives  an  interesting  performance  as 
Napoleon  and  his  voice  is  better  than  the  aver- 
age. There  is  but  one  real  consolation — it  is 
only  a  two-reel  picture. 

Warners-  Vitaphone 

TPHE  feud  in  the  Ozarks  never  dies.  It  prob- 
■'■  ably  never  will  while  there  are  movies  to 
'  keep  it  alive.  Hobart  Bosworth  permits  his 
singularly  fine  voice  to  wax  eloquent  over  such 
whiningsas:  "  Y'all  bumped  off  mah  pappy,  yo' 
duh-ty  skunk ! '  "We  knows  as  how  to  Io\'e  in 
these  h-yre  hills,  an'  we  knows  as  how  to  hate ! " 
Of  course  Mr.  Bosworth  is  good,  but  it's  a  bit 
disappointing  to  us  that  his  first  Vitaphone 
sketch  is  not  quite  worthy  of  his  capabilities. 

"The  Golden  State  Limited'  is,  indeed,  an  unusual  train 
and  really  makes  what  might  easily  be  a  trying  journey,  a 
thing  of  constant  and  complete  pleasure  and  comfort." 

The  Southern  Pacific— Rock  Island  "Golden  State  Limited" — 6114-hour 
flyer  befween  Los  Angeles  and  Chicago.  F.  S.  McGinnis,  Passenger  Traffic 
Manager,  Southern  Pacific,  San  Francisco;  L.  M.  Allen,  Vice-President 
and  Passenger  Traffic  Manager,  Rock  Island,  Chicago.  1| Convenient  ticket 
offices:— 6768  Hollywood  Blvd.,  Hollywood;  212  West  7th,  Los  Angeles; 
531  5th  Avenue,  New  York;  33  West  Jackson  Blvd.,  Chicago. 

When  you   write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINB. 

My  Life— So  Far 


of  dear  Molly  Thompson.  But  the  superiority 
of  the  other  extras  simply  floored  me.  So  suave, 
so  elegant,  so  unperturbed,  so  beautiful  in  their 
smooth  make-ups.  The  lovely  rounded  bodies 
of  the  girls.  I  felt  so  immature  in  my  high- 
waisted  frocks,  spanning  a  flat  little  bosom. 
They  were  most  superior,  these  creatures,  with 
their  castes,  their  httle  secrets.  There  were 
those  who  knew  the  best  place  to  lunch,  where 
one  could  get  the  most  for  the  least  money. 
They  knew,  too,  how  to  apply  make-up  so  it 
would  be  as  smooth  at  the  end  of  the  day  as 
when  they  first  patted  it  on  in  the  morning. 

By  the  time  eleven  o'clock  came  my  make-up 
was  usually  sadly  streaked.  I  was  quite  miser- 
able.   Really  too  self-conscious  of  my  defects. 

IT  can't  be  vanity,  and  if  it  is,  it  must  be 
quite  human,  but,  now,  when  I  walk  on  a  set 
assembled  for  Janet  Gaynor,  I  cannot  help  but 
give  a  fleeting  thought  to  those  other  days.  To 
think  that  the  "some  day"  has  come  when 
those  same  people  are  called  to  work  in  a  pic- 
ture in  which  I  am  the  star. 

It  was  just  after  I  had  answered  a  call  to  do 
extra  work  at  the  Roach  Studio  the  next  day, 
that  Fred  Datig  of  Universal  telephoned  and 
asked  me  to  report  to  the  studio  the  day  follow- 
ing to  play  a  lead.    A  lead! 

"But,  oh,  Mr.  Datig,  I  can't!  Oh,  I  can't. 
Isn't  it  too  bad?  I've  just  promised  Mrs. 
Thompson  at  Hal  Roach  that  I  will  do  extra 
work  tomorrow.    Oh,  isn't  it  a  shame?" 

His  laugh  comes  to  me  now.  "  Don't  worry 
about  that.  When  you  have  a  chance  to  play 
a  lead,  don't  bother  about  extra  work.  We  can 
fix  it  up." 

The  next  day  I  became  leading  lady  for 
Peewee  Holmes  and  Ben  Corbin,  Western 
comedians,  and  in  five  days  my  first  picture,  a 
two  reel  comedy,  was  completed.  I  recall  the 
opening  shot,  me  with  my  forefinger  beneath 
my  chin,  and  the  opening  title  which  read 
"Little  Susy  Harper  ..."  And  the  closing 
shot,  me  with  my  forefinger  beneath  my  chin, 
and  "So  little  Susy  Harper  ..." 

I  had  done  some  work  with  Alberta  Vaughn 
in  an  FBO  series.  I  had  done  a  bit.  But  never 
had  I  done  a  lead.  Wesley  Ruggles,  who  was 
directing  Alberta,  told  me  that  I  "had  some- 
thing." I  blushed  and  didn't  believe  him. 
Jonesy  did,  though. 

You  can  imagine  my  dehght  when  at  Uni- 
versal they  told  me  that  I  was  to  make  five 
more  comedies  with  Peewee  and  Ben.  Hereto- 
fore they  had  changed  leading  women  with 
every  picture,  but  they  hked  my  work.  I 
received  fifty  dollars  a  week,  and  the  days  I  did 
not  work  in  my  Western  comedies,  I  worked  as 
an  extra  on  some  Laura  La  Plante  pictures  and 
others.  I  was  not  under  definite  contract,  but 
I  was  in  stock.    So  was  Fay  Wray. 

GRADU.^LLY  I  was  becoming  accustomed 
to  the  studios.  I  felt  like  a  more  intrinsic 
part  of  them,  now  that  I  was  leading  lady.  I 
was  engaged  at  that  time  to  a  sweet,  a  darling 
boy,  Herbert  Moulton.  He  was  a  young  jour- 
nalist on  The  Los  A  ngclcs  Times.  With  him  I 
wouldattend  the  theatrical  openings.  Iwouldgo 
with  him  when  he  covered  pictures  and  plays. 
Seated,  at  night,  in  the  newspaper  olfice  while 
he  wrote  his  criticisms  for  the  morning  paper,  I 
would  look  over  the  stacks  of  pictures  with 
which  his  desk  was  deluged.  I  studied  the 
pictures  attentively,  thinking  to  myself  "this 
is  what  I  would  not  do  if  I  were  posing"  and 
"this  girl  should  make  good." 

And  I  would  wonder  to  myself  if  I  would 
ever,  ever  make  good  in  the  films.  If  my  pic- 
tures would  be  pubUshed  in  the  papers.  If 
critics  would  gather  to  discuss  my  latest 

One  day  a  call  came  from  the  Fox  studio. 
They  were  to  film  "The  Johnstown  Flood." 

A  second  lead  was  needed  to  play  with  George 
O'Brien  and  Florence  Gilbert.  They  were  con- 
sidering me.  I  took  some  tests  with  Irving 
Cummjngs,  who  was  to  direct,  instructing  me. 
He  was  a  never-tiring,  a  sympathetic,  good 
friend.  They  offered  me  a  contract  to  play  in 
this  one  picture,  or,  if  they  chose  someone  else, 
I  was  to  play  the  lead  in  a  comedy.  At  Uni- 
versal I  was  getting  fifty  dollars  a  week,  regu- 
larly; yet  I  gave  up  that  definite  salary  for  the 
chance  to  play  an  emotional  part. 

It  meant  severing  my  relations  with  Uni- 
versal. It  was  daring.  Nevertheless,  I  took  it, 
without  qualms.  "You  are  right,  Lolly,"  said 

I  got  the  part  in  "The  Johnstown  Flood." 
I  shall  never  forget  how  hard  I  tried  to  do  well. 
I  would  tremble  so  before  I  went  into  a  scene 
that  the  property  boy  would  grip  me  tightly  by 
the  arms,  lest  my  trembling  show  on  the  screen. 
I  was  giving  all  I  could  to  succeed.  We  worked 
in  water  almost  all  of  the  time.  Irving  Cum- 
mings  was  a  prince.  Nevertheless,  I  went  into 
each  scene  super-charged  with  emotion.  I  was 
worn  out  by  the  time  night  came.  I  have 
learned  since  to  conserve  emotion.  Not  to 
force  it  for  the  first  camera  shot.  Emotion  is 
not  to  be  driven.    It  will  come. 

Nowadays,  if  the  first  shot  is  not  as  it  should 
be,  I  do  not  worry.  I  know  that  in  one  of  the 
succeeding  shots  the  great  flood  of  feeling  that 
is  demanded  will  go  over  the  flood-gates.    The 

In  her  life  story,  Janet  Gaynor 
mentions  Lydell  Peck  as  a  young 
man  "I  adore  as  a  fine  friend." 
Rumors  report  an  impending 
engagement,  for  little  Janet  is  a 
frequent  visitor  at  the  home  of 
the  young  attorney's  parents  in 
San  Francisco 

camera  can  wait.  The  director  wants  to  wait. 
He  knows,  as  I  do,  that  eventually  we  will  get 
what  we  are  striving  for.  On  "The  Johns- 
town Flood"  I  was  constantly  at  the  highest 
pitch.  I  would  come  out  of  the  scene  hysterical, 
and  go  home,  quite  spent,  to  go  immediately 
to  bed. 

Irving  Cummings  liked  my  work.  So  did 
Mr.  Sheehan.  He  gave  me  a  contract  which 
paid  one  hundred  dollars  a  week.  "I  knew  it," 
Jonesy  said,  and  went  around  to  his  friends 
telhng  of  his  little  Janet. 

Then  came  some  hghter  pictures.  "The 
Shamrock  Handicap,"  which  John  Ford  di- 
rected.   "The  Midnight  Kiss,"  which  first  was 

Inlei national  Nlw.s 

The  first  home 
of  the  Gaynors 
in  Hollywood. 
From  the  house 
Janet  went  daily 
to  the  Holly- 
wood Secretarial 
School,  little 
dreaming  of  fu- 
ture film  star- 
d  o  m  .  She 
wanted  to  be- 
come a  stenog- 
rapher —  and  a 
good  one 

caUed  "Pigs."    "The  Blue  Eagle,"  in  which  I 
again  appeared  with  George  O'Brien. 

With  "The  Return  of  Peter  Grimm"  came 
my  second  dramatic  role.  Oh,  how  I  worked  to 
make  that  a  good  picture,  to  justify  the  high 
hopes  that  Winnie  Sheehan  had  for  me.  I 
worked  so  hard  that  I  collapsed  on  the  set  and 
had  to  be  rushed  home  where  the  doctor  told 
Gaynor  that,  unless  I  was  taken  away  im- 
mediately and  within  the  week,  something  far 
more  serious .  than  a  temporarj'  breakdown 
might  occur.  The  studio  arranged  that  all  my 
scenes  be  made  in  one  day,  and  I  left  for  a  vaca- 
tion at  Del  Mar,  south  on  the  California  coast, 
the  following  day. 

Photoplay  Magazine — Advertising  Section 

But  there  was  more  than  good  care  to  speed 
me  on  my  way  to  recovery.  While  I  had  been 
making  "Peter  Grimm,"  Frederick  Wilhelm 
Murnau,  that  splendid  German  director,  had 
come  to  the  Fox  organization  and  was  going  to 
make  "  Sunrise."    I  was  going  to  play  in  it. 

Never  will  I  forget  the  day  that  I  went  to  his 
ofBce.  It  was  a  very  warm  day.  I  had  shoved 
my  hair  straight  back  from  my  brow,  I  never 
have  been  one  to  (ix,  and  pulled  a  large  black 
hat  well  over  my  eyes.  The  hat  was  protective. 
I  knew  it  would  shield  me  somewhat  from  those 
piercing,  penetrative,  blue  eyes,  kindly,  but 
nevertheless  awesome. 

Rochus  Gleis,  his  art  director  from  Germany, 
was  with  Murnau. 

"Will  you  take  off  your  hat  please?"  asked 
Mr.  Murnau,  and  off  it  came.  My  big  hat 
availed  me  nothing. 

Murnau  and  Gleis  stood  side  by  side,  Mur- 
nau with  his  hands  to  his  face,  lips  pursed, 
while  Gleis  chattered  violently  in  German,  of 
which  I  knew  not  a  word.  Then  Murnau 
spoke,  in  German.  They  circled  around  me, 
nodding,  gesticulating.  Murnau  approached 
me  and  stroked  my  hair:  "Nice,  nice,"  he  said 
and  smiled.  They  had  forgotten  I  was  alive. 
I  was  more  a  chnical  exhibit  than  anything. 
Suddenly  he  remembered. 

"You  do  not  like  it,  ncin?  Well,  so,  perhaps 
it  iss  not  so  pleasant." 

I  admitted  it  was  not  so  good.  "It  is  not 
very  pleasant  to  sit  here  and  have  you  talk 
about  me,"  I  answered.  "  Especially  when  I  do 
not  know  what  you  are  saying." 

I  was  going  to  play  "Sunrise."  This  was 
what  Winnie  Sheehan  had  told  me.  He  had 
also  told  me  two  other  glorious  things. 

The  second  was  that  my  contract  was  to  be 
torn  up  and  a  new  one  at  three  hundred  dollars 
a  week  was  to  supplant  it.    And  the  third.  .  .  . 

All  during  the  making  of  "Peter  Grimm" 
the  studio  had  been  agog  with  rumors  of  who 
was  going  to  play  Diane  in  "7th  Heaven." 
Every  actress  of  importance  in  Hollywood  had 
taken  a  test.  Day  by  day  limousines  would 
draw  up  to  disgorge  another  celebrated  con- 
testant. Rumor  was  that  even  Douglas  Fair- 
banks and  Mary  Pickford  wanted  to  do  it. 
Unknowns  were  being  photographed  for  the 

Between  scenes  we  would  gossip  about 
whom  we  thought  should  be  Diane.  My  choice 
was  Dolores  Costello. 

T  WAS  doing  the  wedding  scene  in  "Peter 
-'-  Grimm"  when  Frank  Borzage,  that  grand 
person  who  was  to  direct  "7th  Heaven," 
and,  later,  "Street  Angel,"  came  to  our  set. 
No  one  introduced  me  to  him.  He  sat  about, 
silently,  and  then  left.  I  consoled  myself  with 
the  thought  that  anyway  I  was  wearing  my 
most  beautiful  costume.  But  even  that  had 
not  seemed  important  enough  for  someone  to 
present  me  to  him.  Afterward  he  told  me  he 
had  come  on  the  set  for  the  express  purpose  of 
seeing  what  I  looked  like. 

"Oh,  I'd  love  to  play  Diane,"  I  confided  to 
the  cameraman. 

"Your  eyes  are  too  bright,  Janet,"  he  said. 
"Too  much  Hfe  in  them.  Diane  was  a  poor, 
beaten,  drab  little  thing.  You  haven't  lived 
enough  to  know  how  to  act  that." 

The  third  thing  that  Winnie  Sheehan  told 
me  was  that  I  was  to  play  Diane  in  "7th 
Heaven."    I  had  never  even  made  a  test  for  it. 

Did  ever  any  girl  go  away  on  a  rest  with 
brighter  prospects  awaiting  her  return? 

Making  "Sunrise"  under  the  gentle  and 
kindly  direction  of  Murnau  was  a  tremendous 
e.xperience.  George  O'Brien  and  I  made  a  pact 
when  we  started  that  we  would  do  anything 
and  everything  that  this  man  told  us  to  do.  I 
worked  in  water  all  day  long  in  some  of  the 
sequences,  worked  until  I  seemed  to  have  not  a 
spark  of  life  in  me.  Murnau  would  thank  me 
simply,  and  when  I  arrived  home  there  would 
be  a  great  bunch  of  red  roses,  expressing  his 
appreciation.  And  when  we  were  on  location 
at  Lake  Arrowhead  he  sent  to  Los  Angeles  for 
a  huge  birthday  cake  with  sixteen  candles  and 

[  CONTINtTED  ON  PAGE   123  ] 


uyeriJ  wamaiv 


Mrs  Noah  to  now 


HO  can  doubt  that  the  debark- 
ing Mrs.  Noah,  with  the  blood 
of  Eve  in  her  veins,  did  not  regard  in 
some  deluge-born  pool  the  state  of  her 

Her  descendants  have  elaborated  on 
her  simple  technique.  Yet  with  all 
their  skillful  use  of  creams,  modern 
women  by  the  thousands  are  guarding 
their  skins  as  well  as  their  health  by 
keeping  internally  clean  —  by  the  saline 
method  with  Sal  Hepatica. 

A  Back-to-Nature  Beauty  Aid 

Sal  Hepatica  keeps  the  system  clear  of 
the  poisons  and  acids  that  cause  blem- 
ishes and  dullness.  It  is  a  modern 
back-to-nature  beauty  aid. 

For  years  the  drinking  of  salines  to 
improve  the  complexion  and  restore 
health  has  had  the  wholehearted  sanc- 
tion of  physicians.  And  in  Europe 
fashionable  resorts  have  grown  up 
around  the  health-giving  spas. 

Sal  Hepatica  is  the  American  equiva- 
lent of  the  European  spas.  By  clearing 
your  blood  stream,  it  helps  your  com- 
plexion. It  gets  at  the  source  by  elimt- 

At  your  druggist 's 

O ALINES  are  the  mode  the 
<J  world  over  because  they  are 
wonderful  antacids  as  well  as  lax- 
atives. And  they  never  have  the 
tendency  to  make  their  takers  stout! 

nating  poisons  and  acidity.  That  is 
why  it  is  so  good  for  headaches,  colds, 
twinges  of  rheumatism,  auto-intoxica- 
tion, etc. 

Sal  Hepatica,  taken  before  breakfast, 
is  prompt  in  its  aaion.  Rarely,  indeed, 
does  it  fail  to  work  within  30  minutes. 

Get  a  bottle  today.  Keep  internally 
clean  for  one  whole  week.  See  how 
this  treatment  can  make  you  feel  bet- 
ter, look  better,  be  better. 

3^1  |-]epatica 

iOc,  60c,  and  $1.20 

BRISTOL-MYERS  CO.,  Depr.  Gl9 
71  West  Street,  New  York,  N.  Y. 
Kindly  send  me  the  Ftee  Booklet  that  ex- 
plains more  fully  the  bene6ts  of  Sal  Hepatica. 




WbeD  you  write  to  airertlsera  pleas©  mentioD   PnOTOPI..AT   MAGAZINE. 

Doug's  Office  Boy  Makes  Good 


to  that,  my  folks  sent  me  each  month  a  small 
remittance,  so  I  put  off  returning  home,  upon 
first  one  excuse  and  then  another,  because  I 
knew  I  would  have  to  go  back  to  school  and 
specialize  for  diplomatic  service." 

"D  ARRY  remained  a  year  and  a  half  in  New 
-^Vork,  with  no  thought  whatever  of  pictures. 
In  fact,  one  night  in  the  Pepper  Pot,  a  Green- 
wich \'illage  cafe,  Bijou  Fernandez,  scouting 
for  types  for  Paramount,  offered  to  enter  the 
boy  in  the  Paramount  School  for  Pictures,  that 
novel  institution  which  gave  us  Buddy  Rogers 
and  Josephine  Dunn.  But  young  Mr.  Norton, 
quite  satisfied  with  life  as  he  found  it,  rejected 
the  offer  with  considerable  scorn.  There  fol- 
lowed, also,  opportunities  to  go  on  the  stage. 

"But  I  never  could  remember  lines,"  he  said, 
"so  I  was  afraid  of  these  offers." 

Finally  a  time  came 
when  he  went  to  Chi- 
cago, to  settle  the  estate 
of  a  friend  of  his  father. 
Despite  the  parental 
admonition  against  fur- 
ther travel,  he  contin- 
ued on  to  Hollywood, 
the  wanderlust  whisper- 
ing that  he  could  boast 
he  had  traveled  from 
coast  to  coast.  Even  then 
he  intended  returning  to 
South  America. 

"I  was  confident,"  he 
e-xplained,  "  that  I  could 
work  my  way  back  to 
New  York  through  the 
Canal.  And  I. was  light- 
hearted  and  without 

It  had  been  necessary 
in  Chicago  to  pawn 
practically  everythinghe 
owned  in  order  to  obtain 
money  for  the  fare.  And, 
when  Barry  Norton  ar- 
rived in  Los  Angeles,  he 
possessed  just  fifteen 
dollars,  an  Argentine 
valise  and  an  extra  suit 
of  Buenos  Aires  clothes. 

WHAT  do  you 
think  my  first  job 
was?  "he  asked,  his  eyes 
alight.  We  did  notknow. 
"Carrying  lumber! 
Oh,  boy,  what  a  job! — 
ina  lumber  yard. Boards, 
planks,  scantlings,  posts, 
— tons  of  'em!  It  nearly 
broke  my  back.  I  was 
too  light  for  the  work, 
so   they  fired  me,  and 

that  about  wrecked  my  pride.  I  went  to 
the  boss  and  begged  him  to  let  me  keep  on. 
I  told  him  I'd  carry  twice  as  much.  I  didn't 
want  to  fail.  It's  always  bad  to  fail — the 
psychology  is  demoralizing.  But  the  boss 
shrugged  and  shook  his  head.  His  coldness 
offended  me.  Maybe  I  was  sensitive.  All  my 
hfe  I  have  been  sensitive,  and  I  felt  it  was  un- 
fair not  to  give  me  a  chance.  But  that  is 
America — cold,  businessUke.  Great  oppor- 
tunities if  you  are  competent,  but  no  room  if 
you  can't  hold  the  pace.  In  my  own  country, 
I  think  they  would  have  helped  me.  Yet  I  did 
not  leave  that  job  with  the  feeling  that  I  was 
useless;  I  merely  felt  I  had  learned  that  this 
was  not  my  sort  of  work. 

"In  South  .America  I  fear  I  had  gained  a 
rather  imperialistic  outlook.  I'or  instance,  I 
felt,  until  I  came  to  this  country,  that  indi- 
viduals were  born  to  their  station  and  should 

be  treated  accordingly.  A  servant  was  a 
servant,  a  chauffeur  a  chauffeur,  a  w^aiter  a 
waiter  and  nothing  more.  Under  all  circum- 
stances they  should  be  made  to  realize  their 
places.  But  I  have  found  that  the  world  is  not 
like  that. 

"There  is  no  such  thing  in  life  as  'station.' 
One  of  my  very  good  friends,  for  example,  is  a 
young  Canadian  with  whom  I  worked  in  the 
lumber  j'ard.  He  is  not  intellectual,  I  admit, 
but  he  is  human,  and  he  has  a  heart.  And 
today  he  is  a  taxi  driver!" 

After  the  disaster  of  the  lumber  yard,  Barry 
Norton  turned  his  gaze  screenward. 

"I  remembered  what  Bijou  Fernandez  had 
told  me  in  the  Pepper  Pot,"  he  said,  "so  I 
knew  it  would  be  a  cinch."  His  eyes  twinkled 
and  he  smiled  oddly.  "Yes,  I  knew  it  would  be 
an  absolute  cinch!" 

Barry  Norton's  mother  and  father.      They  haven't  seen  their  son 

since  he  left  them  five  years  ago,  to  come  to  this  country  as  a 

member  of  the  cheering  section  for  Firpo,  the  Wild  Bull  of  the 

Pampas.   But  the  Biraben  family  plans  a  reunion  in  Paris  soon 

The  assurance  of  youth!  Its  tenacious  ar- 

From  studio  to  studio  he  trudged,  his  feet 
blistered,  occasional  relief  grudgingly  granted 
by  passing  motorists.  But  at  every  casting 
window  the  same  answer  was  inevitable — "  Not 
the  t>pe."  So  it  was  just  the  old  story  without 

■pINALLY,  however,  persistence  won. 


Norton  got  a  break. 

A  picture  at  FBO. 

"It  was  interesting,"  he  said,  "because  of 
one  experience.  I  was  introduced  to  the  star. 
Very  condescending  indeed,  that  star,  strug- 
gling desperately  to  keep  her  high  hat  on.  Two 
years  later  I  signed  a  contract  with  Fox.  My 
first  'opus'  was  'The  Lily,'  made  mostly  with 
free-lance  players. 

"In  fact,  I  was  the  only  contract  player  in 

the  cast.     Belle  Bennett  topped  the  list  of 

"  Far  below  me  was  billed  the  ritzy  lady  who 
had  worn  the  high  hat  of  stardom  at  FBO.  A 
strange  place,  Hollywood!" 

npHIS  "big  opportunity"  at  FBO,  however, 
-'■  developed  into  just  another  extra  job.  But 
out  of  it  Barry  Norton  made  enough  to  buy  a 
new  pair  of  shoes  with  which  to  continue  his 

And  again  he  heard  the  wolf  cry — "You're 
not  the  type." 

But  one  morning  he  got  a  call  from  an  agency 
in  the  Taft  Building — the  very  building  where 
Photoplay  now  has  its  Hollywood  head- 

"The  United  Artists  studios  want  you,"  he 
was  told.      "Douglas  Fairbanks." 

Douglas  Fairbanks! 
His  heart  gave  five  extra 
thumps.  A  break  at  last! 
So  he  marched  boldly 
to  the  United  Artists 
studios,  expecting  noth- 
ing short  of  the  juvenile 
lead,  and  receiving  in- 
stead an  offer  to  go  to 
work  as  office  boy. 

What  a  blow  to  high 
hopes,  to  visions  that 
soared  in  the  clouds. 

But  Barry  Norton, 
still  Alfredo  Biraben, 
mind  you,  did  some 
fast  thinking.  It  was 
a  job. 

It  paid  money.  It  was 
with  Douglas  Fairbanks 
and  that  meant  prestige 
and  maybe  a  chance  to 
learn  about  pictures. 
He  took  it. 

And,  roughly  speak- 
ing, he  remained  there 
four  months,  learning 
about  pictures.  At  every 
opportunity  he  was  on 
the  set,  studying.  In 
fact,  he  devoted*  so 
many  golden  hours  to 
observation  on  the  set 
that  it  was  his  eventual 

Clarence  Erickson, 
manager,  a  practical 
soul  with  no  feeling 
whatever  for  higher  art, 
finally  discovered  how 
the  office  boy  spent  his 
time  .  .  . 

"But  I  learned  much," 
says  Barry.  "I  learned 
timing  there,  the  great 
secret  of  screen  acting."  After  being  detached 
from  the  Fairbanks  payroll,  Barry  took  up  the 
great  trek  again,  consumed  this  time  with  an 
even  greater  determination  to  act. 

I  KNEW  I'd  be  set  if  I  could  just  get  a  test," 
he  said.  "But  casting  offices  were  always 
broadcasting  that  favorite  jazz  number,  'Not 
the  type.'  It  was  like  static,  forever  interrupt- 
ing the  song  of  hope. 

"Casting  directors  used  to  advise  me  to  go 
back  home. 

"They  said  there  was  nothing  in  Hollywood 
for  me,  that  it  would  be  infinitely  better  to  take 
up  some  other  line." 

Fie  paused  for  a  moment  and  looked  away. 

"One  thing  I  will  never  do,"  he  said  finally. 
"I  will  never  discourage  anyone.  I  will  never 
tell  anyone  not  to  try.  You  never  can  tell. 
Let  people  learn  for  themselves.     They  will 


Photoplay  Magazine — Advertising  Section 

find  out  eventually  if  they  are  not  suited,  and 
when  they  learn  it  for  themselves  they  are 
more  apt  to  stay  convinced." 

No  matter  what  the  breaks  were,  Barry 
Norton  never  considered  the  possibility  of 

"You  see,"  he  remarked,  eyes  twinkling 
again,  "I  knew  I  was  good!  I  had  a  hunch.  I 
felt  that  it  was  merely  a  matter  of  getting  a 

"The  break  came  one  day  at  the  Fox 
Studio.  Irving  Cummings  saw  me.  'Just  the 
type  I'm  looking  for,'  he  said.  That  casting 
oflice  dirge  came  back  to  me — 'You're  not  the 
type,  not  the  type!'  I  almost  laughed  out- 
loud,  for  right  here  in  front  of  me  was  a  flesh 
and  blood  director  announcing  me  as  just  the 


"Strange  town,  indeed,  this  Hollywood." 

THAT  test  won  Barry  Norton  a  contract, 
and  with  the  signing  of  that  contract,  he 
lost  his  South  American  name. 

Studio  executives  ruled  that  it  was  too  un- 
wieldy and  that  he  must  adopt  an  American 
name  in  its  stead. 

From  a  list  he  prepared,  the  name  Barry 
Neilan  was  chosen,  and  it  was  under  this 
nom  de  cinema  that  he  received  his  first  screen 

But  to  avoid  being  confused  with  Marshall 
Neilan,  Barry  selected  Norton  for  his  last 

He  is  being  carefully  groomed  now  by  Fox  for 
bigger  and  better  things.  The  latest  develop- 
ment in  his  career  is  a  trainer.  Leo  Houck, 
ex-fighter,  actor,  stunt  man  and  assistant 
director,  has  been  assigned  by  Winnie  Sheehan 
to  build  up  the  Norton  neck  and  thus  add 
character  to  the  Norton  face. 

And  from  what  I  know  of  Leo,  he  will  either 
build  up  the  Norton  neck  or  unjoint  it,  if  you 
know  what  I  mean! 

Barry  is  now  twenty-four,  and  a  large  hunk 
of  actor,  providing  you  do  not  mind  the  deli- 
cate cast  of  his  features.  You  will  remember, 
of  course,  that  in  "What  Price  Glory"  people 
spoke  of  him  as  that  beautiful  boy.  He  is  five 
feet  eleven  and  one-half  inches  tall  and  weighs 
one  hundred  and  seventy-four  pounds.  And 
when  he  is  not  in  costume,  his  favorite  apparel 
is  a  pair  of  whipcord  riding  breeches,  tan  boots, 
light  tan  camel's  hair  sweater,  light  yellow 
shirt  that  blends  smartly,  and  a  slightly  darker 
tie  with  small  brown  polka  dots. 

This  get-up  sounds  hke  a  Hollywood  pose, 
and  hard-boiled  grips  and  prop  men  fre- 
quently yell,  "Hey,  Barry,  where's  your  horse?" 
But  for  all  that,  it's  on  the  level,  and  every 
opportunity  finds  him  bridle-pathing  his  favor- 
ite steed  over  the  Hollywood  hills. 

JUST  now,  Barry's  great  ambition  is  to  see 
Jhis  folks — his  mother,  his  father,  his  only 

"I  have  not  seen  them  since  I  left  Buenos 
Aires,"  he  told  me.  "But  I  do  not  expect  to 
visit  them  in  my  native  city.  I  think  I  shall 
see  them  in  France.  It  takes  too  long  to  go  to 
the  Argentine — thirty-one  days  on  the  boat 

"So  we  will  meet  in  Paris,  the  birthplace  of 
my  mother." 

And  it  is  just  possible  that  Barry  will  take 
a  woman  with  him — a  beautiful  woman, 
talented,  clever.  If  she  goes,  it  will  be  as  Mrs. 

We  can't  say  for  sure,  of  course,  because  he 
wouldn't  say  for  sure.  But  when  we  asked  him 
about  Myrna  Loy,  he  grew  silent.  And  when 
he  finally  spoke,  it  was  with  caution,  each  word 
carefully  weighed. 

"Myrna  and  I  go  together,  yes,"  he  said. 
"She  is  wonderful.  But  marriage — "  He  shook 
his  head. 

"Bad  for  your  careers?"  I  suggested. 

He  nodded. 

Which  is  always  a  good  omen. 

.'\nd  therefore  this  actor  who  once  was  an 
office  boy  looks  forward  to  two  things — 

Stardom  and,  unconsciously  perhaps.  Mat- 


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Girls'  Problems 


whether  your  appearances  are  the  deceitful 

So  I  advise  you — first.  And  then  I  go  back 
to  what  you  have  told  me  in  your  letter.  For 
you  have  written — "My  life's  happiness  is 
hanging  by  a  thread."  And  if  such  is  the  case, 
if  the  matter  is  so  desperate,  then  surely  you 
should  not  pause  in  taking  a  direct  course  to 
straighten  it  out.  So  long  as  you  are  so  sure  of 
your  man's  love,  you  should  go  to  him.  And 
be  frank.  You  should 
explain  to  him  just  how 
you  with  an  unpleasant 
tag — how  they  put  you 
in  a  wrong  position.  And 
you  should  explain  that 
the  ultra-modern  veneer 
with  which  you  have 
covered  yourself  means 
less  than  nothing.  You 
should  explain  to  him 
that  underneath  the 
veneer  you  are  as  old- 
fashioned  —  that  you 
have  as  high  ideals  and 
right  principles — as  his 
own  mother,  and  the 
girls  who  lived  in  his 
mother's  time. 

If  the  man  is  worth 
while,  Wilma,  he  will 
understand  you  —  and, 
what  is  even  more  im- 
portant, he  will  believe 
you.  And  if  he  doesn't 
understand  — a  n  d 
doesn't  believe — then  he 
isn't  worthy  of  your  af- 
fection. And  you  would 
do  well  to  forget  him. 
As  soon  as  you  possibly 

B.  A.  S.: 

You  are  of  the  Gloria 
Swanson  type.  Your 
coloring  is  almost 
identical  with  hers.  You 
can  wear,  as  she  does, 
subtle  shades — strange 
greens  and  ambers  and 

Ethel  S.: 

Oily  hair  is  a  problem. 
It  requires  infinite  care 
and  patience.       If  you 
can  manage  to  stand  it 
in  its  oily  state  over  the 
time  when  you  usually 
shampoo    it,     you    will 
find  that  the  oUiness  de- 
creases. Oftentimes  oily 
hair  comes  from  over- 
shampooing.      Some- 
times, however,  oily  hair  is  successfully  treated 
with  oil  itself — in  the  form  of  hot  oil  shampoos. 
Ask  the  hair  dresser  in  your  town  for  her 


I  think  you  have  proved  that  your  more 
carefree  methods  of  living  (which  you  refer  to 
as  "wildness")  have  decreased  rather  than  in- 
creased your  popularity.  Go  back  again  to 
your  old  standards.  Be  the  sweet  little  girl 
that  you  used  to  be  and  I  am  sure  that  you  will 
regain  your  one-time  charm. 

J.  v.: 

Is  there  no  one  in  your  town  to  whom  you 
can  go  for  advice  about  singing?  Certainly 
there  is  a  choirmaster  in  your  church  or  a  song 

leader  in  your  high  school  who  at  least  could 
tell  you  to  whom  you  should  apply  for  help  in 
realizing  your  ambition. 

Laura  K.: 

Are  you  sure  that  your  teeth  are  in  good  con- 
dition? Sometimes  skin  troubles  come  from  an 
infected  tooth.  Apparently  you  are  healthy  in 
every  other  way,  and  your  method  of  caring  for 
your  skin  seems  a  wise  one.    I  would  suggest 

How  a  big  girl  and  music  show  looks  to  the  man  in  the  fly  gallery. 
An  unusual  shot  of  a  stage  scene  being  made  by  Malcolm  St.  Clair 
for  Paramount's  production  of  "The  Canary  Murder  Case,"  the 
S.  S.  Van  Dine  mystery  story.    Louise  Brooks  is  the  girl  in  the  swing 

that  you  have  your  teeth  X-rayed.  Perhaps 
you  would  find  also  some  good  suggestions  in 
my  booklet  on  the  care  of  the  skin. 

P.  L.  S.: 

Some  people  who  find  a  cream  too  heavy  for 
their  delicate  skins  are  pleased  with  the  results 
obtained  from  using  a  good  skin  lotion. 

Indeed  daily  sun  baths  would  help  you  in 
your  second  trouble.  They  are  found  most 
beneficial  by  many  people. 

As  to  your  weight,  you  should  weigh  about 
125  pounds. 


An  inferiority  complex  is  a  hard  thing  to 
battle.  I  don't  know  quite  how  to  advise  you. 
I  can  only  say  that  you  should   try  to   be 

natural,  that  you  should  be  as  unaffected  with 
boys  as  you  are  with  girls.  If  you  find  it  hard 
to  talk,  let  the  other  person  carry  on  the  greater 
part  of  the  conversation  and  show  your  interest 
by  your  understanding  and  intelligent  silence. 
The  most  popular  girls  I  have  ever  known  have 
been  the  best  listeners. 


See  my  advice  to  Jane  and  follow  it.  Read 
good  books  and  be  able 
to  comment  intelligently 
on  them.  Also  keep  up 
with  current  events. 
You  evidently  lack 
something  in  conversa- 


You  should  wear 
straight-line  dresses 
with  skirts  slightly  long- 
er than  the  average,  and 
low  waist  lines.  You 
must  avoid  ruffles  and 
frills.  They  will  make 
you  seem  heavier.  Dress 
your  hair  high — as  high 
as  possible.  Brush  the 
little  curls  up  to  a  loose, 
soft  knot  at  the  top  of 
3'our  head.  This  will 
give  you  height,  charm 
and  slimness. 

A.  R.: 

Massage  your  legs 
with  a  good  tissue  build- 
ing cream.  This  should 
make  them  a  little  less 
thin.  Drink  a  glass  of 
cream  and  millc  three 
times  a  day — halt  cream 
would  be  best.  Do  not 
take  over-hot  baths  and 
do  not  exercise  too 
violently  if  you  want  to 
gain  weight. 


Never  sacrifice  your 
looks  to  a  ruhng  style. 
If  you  look  best  with 
your  hair  short,  be  sure 
to  keep  it  short,  no 
matter  how  popular 
'ong  hair  may  become. 
Individuality  is  more 
important  than  the 
thing  that  fashion  dic- 

You  will  be  prettiest 
in  straight  dresses,  and 
your  best  colors  will  be 
different  shades  of  blue 
and  greens.  You  will 
also   be   quite   lovely   in   beige. 

You  are  just  a  trifle  overweight,  but  at  your 
age  it  is  quite  easy  to  control  one's  weight  by 
exercise.  Your  letter  makes  you  sound  very 
attractive.  Don't  worry  about  any  minor 

Last  of  all,  I  want  to  thank  you  for  one  of  the 
loveliest  compliments  that  has  ever  been  paid 
me.    You  will  understand  what  I  mean. 


Beige  is  a  good  color  for  you.  You  can  also 
use  the  strange  off  shades — queer  reds  and 
mauves  and  greens.  Personally,  when  one  can 
wear  such  colors,  I  prefer  them.  They  stand 
out  from  the  average  thing.  Use  ashes  of  roses 
rouge  and  Rachel  No.  2  powder.  They  will  be 
best  for  you. 


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Good    Girl 


"Yeh,  great  little  old  trip!"  His  eyes  slid 
past  hers.  "  See  the  rushes  of  my  iight  scene? 
Pretty  hot,  what?" 

She  went  home,  divided  between  hope  and 
despair.  He  hadn't  said  anything,  but  surely 
there  had  been  meaning  in  the  way  he  had 
pressed  her  hand  when  they  had  said  goodby. 
.  .  .  She  wasn't  a  girl  who  let  men  kiss  her, 
but  he  hadn't  tried.  .  .  . 

"Ken  Laurel's  not  the  marrying  type," 
Marjorie  Ford,  who  played  vamps,  observed. 
She  was  using  a  lipstick  and  small  mirror  and 
wasn't  looking  at  Ellen,  who  flushed  at  men- 
tion of  the  star. 

"Don't  you  think  so?" 

"V\7ELL,  he  always  dodges  before  they  get 

**  him  to  the  altar.  There  was  that 
Madam  WhatyoucaUer  who  made  'The  Green 
Sin,'  and  Lou  Leslie  and  that  blonde  that 
married  the  Jew  bootlegger, — oh,  a  lot  of  'em 
have  tried  to  get  him.  .  .  .  Dearie,  if  you've  any 
designs  on  him,  forget  'em  and  go  after  the 
Prince  of  Whales  or  the  Astor  offspring  or  some- 
body easy.  And  don't  look  at  the  word  'de- 
signs.' Only  them  as  has  'em  are  going  to  land 
rich  and  handsome  husbands  in  these  hard 

Ellen  rearranged  a  pin  in  a  soft  coil  of  hair 
and  tried  to  speak  casually.  "He  asked  me  to 
dinner  tonight." 

Marjorie  flashed  an  upward  glance  at  the 
self-conscious  little  figure  by  the  dressing-table. 
They  were  attending  a  "cat"  party. 

"WeU,  listen  to  Gramma,  dearie.  If  you 
reaUy  want  him,  you'd  better  can  the  sweet, 
domestic  type  and  develop  some  pep.  You've 
read  that  men  may  pay  attention  to  the  giddy 
girls,  but  it's  the  good  ones  that  grab  off  the 
wedding  rings.  Take  it  from  me,  that's  the 
bunk!  Nothing  will  drag  some  men  to  the 
J.  P.  but  a  couple  bottles  of  bad  gin." 

But  EUen  had  gone  downstairs.  Connie 
Lane  was  there  and  Bess  Pretty,  both  newly 
engaged,  discussing  Christmas  presents  for  the 

"What  you  got  for  your  best  beau?"  called 
Connie,  hghting  her  cigarette  at  one  of  the 
table  candles. 

"It's  finished,"  confessed  Ellen.  "I  was 
afraid  I  wouldn't  get  it  done,  we've  had  so 
many  night  calls.  It's  a — "  she  lowered  her 
voice —  "a  lounging  robe." 

Marjie,  on  the  stairs,  commented:  "My 
Gawd,  she  made  it !" 

But  no  comment  could  touch  Ellen's  pride 
in  her  gift — shining  black  satin  without,  vivid 
crimson  silk  within,  beautifully  quilted,  every 
stitch  a  memorial  to  Ellen's  convent  days.  It 
lay  in  its  holiday  box,  the  special  silver-starred 
paper  and  wide  scarlet  ribbon  for  its  wrapping 
beside  it.  There  was  a  card,  too,  that  read: 
"  Ken  from  Our  Nell." 

SHE  sent  the  gift  to  him  by  special  messenger 
so  that  it  would  reach  him  Christmas  Eve. 
He  had  told  her  his  family  celebrated  then.  .  .  . 
She  hadn't  seen  him  for  eight  days,  but  he 
wasn't  out  of  town.  Bess  Pretty,  who  was  in 
his  picture,  said  they  were  working  every  day. 

None  of  the  packages  that  came  to  the 
bungalow  before  Christmas  were  from  Ken.  .  .  . 
buthe'dprobablybringithimself  on  theday 

Ellen  was  up  so  early  that  Brother  pre- 
tended she  still  believed  in  Santa.  She  was 
unusually  gay  over  the  gifts.  "How  lo-o-vely !" 
she  kept  crying. 

"You're  awfully  easy  pleased!"  grunted 
Brother,  when  the  exclamation  came  after  the 
opening  of  a  box  of  knitted  washrags  from  an 
Idaho  aunt.  But  he  didn't  pursue  the  subject. 
EUen's  eyes  looked  misty. 

Noon.  Afternoon.  Evening.  Eight  o'clock. 
Nothing  from   Ken.     Not  even  a  card  or  a 


telephone  call.  Ellen  slipped  out  to  the 
garden  to  get  away  from  the  indignant  pity  in 
Brother's  face.  All  the  shades  were  up,  reveal- 
ing the  lighted  tree,  the  holly  wreaths,  the  hope- 
ful sprig  of  mistletoe  on  the  chandelier.  Beds 
of  blooming  poinsettias,  that  made  a  flaming 
wall  around  three  sides  of  the  house,  were 
picked  out  by  the  electric  lamps  across  the 

Perhaps  she  could  tell  the  girls  Ken  had 
given  her  the  turquoise  pin  of  Brother's — or 
the  silver  candlesticks  from  the  Wheatleys — 
or  the — no,  not  the  dress  from  Cousin  Jane! 
.  .  .  Was  that  a  car  turning  the  corner?  Yes — 
lights — it  was  stopping!    She  had  reached  the 

International  Newsreel 

Flashing  one  of  those  famous  Del 
Rio  smiles,  Dolores  the  Dangerous 
came  home  from  her  European 
jaunt  on  the  "Paris."  Tlie  other 
lady  is  her  mother 

sidewalk  before  she  had  seen  it  was  a  delivery 
wagon.    A  boy  came  staggering  up  with  a  box. 

"I  knew  he  wouldn't  forget!"  almost  sobbed 
Ellen,  as  Brother  signed  the  boy's  book.  She 
could  hardly  get  into  the  house  with  the  box. 

Flowers  .  .  .  They  won't  keep  but  you  can 
press  them  .  .  .  Why  wouldn't  the  silly  box 
open?  .  .  .  There!  Now  the  paper —  .  .  . 

She  read  the  card,  a  florist's  card  written  by 
someone  at  the  store.  He'd  telephoned  the 
order.  .  .  .  "Christmas  greetings  from  Ken 
Laurel."  .  .  . 

Her  brother  admired  them  perfunctorily, 
but  when  she  had  taken  them  to  the  kitchen 
for  vases,  she  heard  him  growl:  "Forgot  aU 
about  her  until  he  opened  her  present  and  then 
forgot  we  have  sixty  million  of  those  in  the 
yard!   The  low-lifer!" 

She  laughed  mirthlessly.  .  .  .  You  can't 
press  a  poinsettia.  .  .  . 

The  tragedy  of  it  was  that  Ken  never  quite 

dropped  her.  In  the  years  that  followed  he 
was  always  coming  back  from  New  York, 
where  he  made  a  picture  or  so,  calling  her  up 
and  saying  with  that  inflection  that  seemed  to 
mean  much  and  meant  nothing:  "How's  the 
pride  of  Hollywood?  Coming  to  dinner  with 
an  old  flame?"  or  "That  Our  NeU?  Know 
who  this  is?    How  about  a  bite  and  a  show?" 

She  always  went — always  put  on  her 
prettiest  frock,  had  her  hair  marceled  and 
mentioned  his  taking  her  to  the  other  girls. 

pEOPLE  were  sorry  for  her.  "Poor  EUen!" 
-'-  they  used  to  say,  with  more  or  less  of  a  shrug. 
"  She's  mad  about  him.  I  wish  he  would  marry 
her!"  with  the  intonation  that  means  there's 
nothing  less  Hkely. 

There  were  times  when  it  seemed  possible 
Ellen  might  capture  him.  After  his  ardent 
affair  with  the  Dane  girl,  for  instance.  .  .  .  He 
had  seemed  actually  in  earnest  over  that  and 
he  was  as  much  amazed  as  anyone  when  she 
announced  that  she  had  been  married  all  the 
time  to  a  French  count.  Ellen  was  seen  every- 
where with  him  for  the  next  few  weeks.  "A 
French  count,  my  dear,"  she  would  say,  scorn- 
fully, to  anyone  who  hstened.  "They  don't 
kavr  counts  in  France.    It's  a  republic!" 

Then  there  was  the  time  a  boat  was  blown 
up  before  the  director  expected  the  explosion, 
and  Ken,  who  had  been  on  it,  was  taken  to  the 
hospital.  His  eyes  were  bandaged  and  there 
seemed  grave  doubt  as  to  whether  or  not  he 
would  see  again.  Ellen  was  the  only  one  who 
could  keep  him  quiet.  His  mother,  weeping 
in  the  corridor,  said  so  herself.  Good  little 
EUen,  giving  every  spare  minute  to  the 
furious  invalid. 

He  must  have  said  things  to  her  then  that 
worried  him  when  the  doctors  found  that  his 
eyes  would  be  as  good  as  ever.  He  was  fond  of 
EUen,  but  ...  At  any  rate,  it  was  arranged 
that  Ellen  should  go  to  Italy  with  a  movie 
company  before  Ken  was  ready  to  worjf . 

"  Why,  you  ought  to  be  jumping  for  joy!"  he 
cried,  when  she  came  to  him  in  tears  .  .  .  She'd 
be  away  a  year!  "I  think  it's  great!  Look  at 
the  opporitinity!     Why,  Ellen,  it's  marvelous/" 

"B-but  you  won't  be  there!" 

"A  year's  no  time  at  all,"  he  assured  her, 
ignoring  her  piteous  little  wail.  "Think  of  the 
edueation!  .  .  .  Gee,  I  wish  they'd  send  me 
to  Italy!" 

EUen  was  twenty-seven  by  that  time. 
Education  seemed  to  her  something  to  be  con- 
sidered in  connection  with  her  children.  "But 
I'U  never  have  any!"  she  told  Connie  Lane, 
who  went  to  Italy,  too.  They  told  each  other  a 
great  deal  just  then.  They  were  both  fright- 
fully homesick  and  neither  of  them  Uked 

"■\yfARRIAGE  isn't  everything."  returned 
■^"•'■Connie,  gloomily.  She  had  divorced  the 
fiance  of  that  long-ago  Christmas  and  was  said 
to  be  on  very  poor  terms  with  her  second 

"With  the  right  man — "  argued  Ellen. 

"There  isn't  any!  Why  don't  you  forget 
Ken  Laurel  and  take  someone  else?  There's 
the  chap  who's  business  managing  us — whats- 
aname  Peters.  He's  always  giving  you  the 
glad  eye.  .  .  .  Oh,  don't  get  mad!  .  .  . 
Believe  me,  I'm  not  going  to  act  like  an  inmate 
of  the  old  ladies'  home  while  we're  here.  If  I 
see  any  likely  prospects — " 

The  director  sent  Connie  home  six  weeks 
later.  She  was  a  disturbing  influence,  and 
besides  he'd  had  the  script  rewritten  and  cut 
her  part  out.  She  repeated  EUen's  confidence 
to  some  of  the  people  at  home. 

"I  promised  never  to  breathe  a  word,  so  of 
course  I'm  telling  yout"  she  giggled. 

[  CONTINUED  ON  PAGE  107  ] 

Photoplay  Magazine — Ad\ehtising  Section 


Sonny  Boy 


"They  just  can't  seem  to  forget,"  Frankie 
told  his  mother.  "  that  I'm  not  a  little  boy  any 

Then  finally  came  the  call  from  'Warner 
Brothers  for  the  part  of  Sonny  Boy  in  "The 
Singing  Fool." 

■KJOW,  mind  you,  this  call  was  for  Frankie, 
■'-^  notforDavey.but  Mrs.  Lee  had  formed  the 
habit  of  taking  Da\'ey  along  whenever  they 
answered  a  call,  thinking  that  possibly  some 
day  some  one  would  see  something  in  him  and 
give  him  a  break. 

"I  wanted  somebody  else  to  discover  it," 
she  told  me.  "I  wanted  them  to  see  for  them- 
selves, because  I  knew  if  they  found  it  out 
without  being  told,  his  chances  would  be  much 

As  usual,  when  Frankie  and  Davey  and  their 
mother  arrived  at  the  casting  office,  it  was 
teeming  with  urchinp,  and  nary  a  one  was  more 
than  half  the  size  of  Frankie. 

He  looked  them  over  with  his  sixteen-year- 
old  superiority,  sniffing  his  contempt. 

Rut  at  that  moment,  the  casting  director 
caught  sight  of  Davey  .  .   . 

We  must  pause  here  to  tell  you  wherein  the 
true  story  of  Davey's  engagement  differs  from 
the  press  agent  version,  '^'hat  the  publicity 
department  was  after,  evidently,  was  copy  that 
would  paint  a  glowing  picture  for  Jolson  as  the 
star  of  "The  Singing  Fool."  The  adventure 
they  invented  for  Davey  ran  as  follows: 

Davey  eluded  his  mother  for  a  moment, 
squeezed  through  the  half  open  door  of  the 
casting  office  and  stepped  out  on  the  lot, 
almost  into  the  arms  of  Al  Jolson.  Jolson 
picked  him  up.  yelled  "Mammy"  in  a  loud 
voice,  and  instantly  Davey  received  a  five 
year  contract.  These  are  the  highhghts,  minus 
the  verbal  garnishings,  of  course. 

But  the  facts  are  as  follows: 

The  casting  director  said  to  Mrs.  Lee.  "  How 
old  is  this  baby?"  And  when  she  told  him.  he 
asked,  "Can  he  act?  —  has  he  ever  had  any 
experience? — will  he  take  direction?" 

The  answer,  of  course,  was  no. 

In  spite  of  that,  however,  the  casting  direc- 
tor, being  much  impressed  by  the  child,  an- 
nounced that  he  was  going  to  take  him  over 
to  see  Jolson. 

"And  when  he  said  that."  said  Mrs.  Lee,  "I 
wish  you  could  have  seen  Frankie's  face." 

What  she  meant,  of  course,  was  that  all  the 
disappointment  in  Frankie's  heart,  all  of  the 
dreams,  all  of  the  air  castles  that  he  had  built 
so  high  under  the  urge  of  imagination  and  am- 
bition, came  crashing  down  in  a  heap.  And 
the  effect  was  apparent  in  his  face. 

But  Frankie  swallowed  the  lump  in  his 
throat  and,  with  his  mother,  followed  the  cast- 
ing director  at  a  discreet  distance  as  he  and 
Davey  led  the  way  across  the  lot  toward  the 
sound  stage. 

"npHIS  kid  has  never  been  in  pictures,"  the 

•*-  C.  D.  told  Jolson.  "but  I  wanted  you  to 
see  him."  Al  looked  down  at  the  youngster, 
smiled,  then  extended  his  arms. 

"Come  to  Uncle  Al,"he  said. 

Davey  hesitated  a  moment,  then  went  into 
Julson's  arms.  Jolson  hugged  him  tight  and 
laughed.  Then  Davey  laughed.  They  kept 
laughing.  Just  laughing  about  nothing.  And 
from  that  moment  on,  Jolson  was  Uncle  Al  to 
Davey.  One  day  after  they  had  gotten  well 
into  production.  Mrs.  Lee  asked  Jolson  why  he 
had  been  so  sure  that  Davey  was  the  right 
boy  for  the  part. 

"  I  got  it  right  in  the  heart  the  minute  I  saw 
him,"  he  said.  .And  that,  in  a  sentence,  is  the 
secret  of  this  four-year-old's  success.  .   .   . 

But  Frankie  says  this  is  not  the  end  of  the 
story.  He  says  that  his  dreams  will  yet  come 
true.  And  just  to  prove  it,  he's  rebuilding  his 
shattered  air  castles. 

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When  jou  write  lo  advertisers  please  mention  rH0T0ri..4T  M.\G.4ZIN'E. 

Questions  and  Answers 


G.  F.  I.,  Omaha,  Neb. — These  weird  and 
fj.ntastic  tales,  told  by  returning  Hollywood 
tourists,  keep  this  old  boy  busy.  Your  friend 
is  "warpish,"  all  right,  because  Douglas  Fair- 
banks is  si.x  inches  taller  than  Charlie  Chaphn. 
In  fact,  you  guessed  Doug's  height  exactly — 
five  feet,  ten  inches.  And  Doug  weighs  145 
pounds  while  Charles 'tips  the  scales  at  a  mere 
125.  Show  this  to  the  girl  friend  and  put  her 
to  shame! 

Maude  S.,  San  Francisco,  Calif. — Okeh. 
It  was  the  late  Nat  Goodwin  who  appeared  in 
"Business  Is  Business." 

W.  C,  Bartlesville,  Okla. — Joseph  Schild- 
kraut  played  Judas  in  "The  King  of  Kings" 
and  Pontius  Pilate  was  enacted  by  Victor 
Varconi.  I  don't  think  that  Nils  Asther  is 
going  to  retire. 

M.  R.  L.,  Omaha,  Neb.— "7th  Heaven" 
was  written  by  Monckton  Hoffe,  and  "What 
Price  Glory"  was  adapted  from  the  play  by 
Lawrence  Stallings  and  Maxwell  Anderson. 
Is  that  what  the  movie  dirctor  told  you? 

"SunnyTennesseeans"— Clara  Bow's  very 
first  picture  was  "Beyond  the  Rainbow,"  re- 
leased Feb.  26,  1922.  What  a  great  day  in 
history!  Billie  Dove's  real  name  is  Lillian 
Bohny.  James  Hall's  first  picture  was  "The 
Campus  Flirt."  No,  he  never  has  played  with 
Mary  Brian.  Richard  Di.x  entered  the  movies 
in  1921.  Mary  Brian  hasn't  told  me  about  any 
engagement.    And  Clara's  hair  is  red. 

K.  McG.,  Carthage,  Tenn. — Larry  Kent 
played  in  "Her  Wild  Oat";  Ralph  Forbes  in 
"The  Latest  From  Paris";  Richard  Arlen  in 
"Figures  Don't  Lie";  and  Orville  Caldwell  in 
"The  Patsy."  Always  glad  to  help  out  the 
owners  of  scrap-books. 

F.  J.  G.,  PtJEBLO,  Colo. — Here's  where  I 
take  a  deep  breath.  Dolores  Costello  is  about 
twenty-three  years  old  and  unmarried;  five 
feet,  four  inches  tall  and  her  newest  picture  is 
"The  ]\Iadonna  of  .Avenue  A."  Madge  Bel- 
lamy has  dark  brown  eyes  and  is  fi\-e  feet, 
three  inches  taU.  Her  newest  is  "iVIother 
Knows  Best."  Alice  White's  next  picture  is 
"Bad  Baby."  John  Mack  Brown  is  twenty- 
three  years  old  and  has  black  hair.  He's  si.x 
feet  tall.    Whew! 

Martha  S.,  MICHIGAM^EE,  Mich. — Greta 
Garbo  was  born  in  Stockholm,  Sweden,  twenty- 
two  years  ago.  She  has  light  golden  brown 
hair  and  blue  eyes.  No,  I  don't  think  she  is 
going  to  marry  John  Gilbert.  Pearl  White  is 
very  much  alive,  even  if  she  isn't  playing  in  the 
movies.  When  last  heard  from.  Pearl  was 
operating  a  Casino  at  Biarritz,  which  is  a  very 
Biarritzy  place.  And  it  is  a  big  Casino,  not  a 
little  Casino.  Write  to  Greta  and  John  at  the 
Metro-Goldwyn-Mayer  Studios,  Culver  City, 

"Pesty,"  Chicago,  III. — Dorothy  Se- 
bastian's real  name  is  just  that.  And  Joan 
Crawforc}  has  blue  eyes.  Am  I  prompt,  or  am 
I  not?    What  cause,  please,  to  get  so  sarcastic? 

A.  C.  R.,  ToRSiNGTON,  Conn. — Billie  Dove 
and  Bcbe  Daniels  are  both  American,  although 
Bebe  has  a  mixture  of  French,  Spanish  and, 
Scotch  ancestry.  Baclanova  is  a  Russian- 
born  in  Moscow.  Eugene  O'Brien  and  Mae 
Murray  are  both  on  the  stage. 

E.  F.  R.,  Dallas,  Tex. — Janet  Gaynor  and 
Nancy  Drexel  aren't  sisters.  I  have  no  record 
of  the  actress  you  mention. 

P.  F.  K.,  Boise,  Idaho. — Anita  Page's  real 
name  is  Anita  Pomares.  She  was  born  in , 
Flushing,  L.  I.,  Aug.  4,  1910.  Blue  hair  and 
blonde  eyes — I  mean  blonde  hair  and  blue 
eyes.  Olive  Borden  was  born  in  1907.  She  is 
half  an  inch  shorter  than  Anita,  being  only' 
five  feet,  one  and  one-half  inches  tall.  Jet 
black  hair  and  dark  brown  eyes.  And  neither 
Anita  or  Olive  is  married. 

Ben  W.,  Montgomery,  Ala. — " Satisf}'ing  ' 
other  people's  curiosity"  is  not  only  my  bread 
and  butter,  but  also  my  cake.  Bring  on  your 
questions!  Clive  Brook  is  thirty-seven  years 
old — a  fascinating  age.  Walter  Byron  is  \'ilma 
Banky's  new  leading  man.  And  Phyllis 
Haver's  new  pictures  are  "The  Shady  Lady" 
and  "The  Office  Scandal." 

Patsy  Chandler,  Lima,  O. — Conrad  Nagel 
is  married  to  Ruth  Helms,  his  first  and  only 
wife.  Ramon  Novarro  is  single.  Write  to  him 
at  the  JMetro-Goldwyn  Studios,  Culver  City, 
Calif.  You  have  a  lot  of  accomplishments,  but 
I  can't  give  long  distance  screen  tests. 

Ten  Years  Ago  in  Photoplay 

WELL,  Santa  Claus— disguised  as  INIr. 
Adolph  Laemmle  Loew — is  bringing 
good  Httle  stars  pretty  new  contracts, 
and  we  have  disposed  of  the  enemy  overseas. 

Now  we  are  socking  toe  to  toe  with  a  new 
foe — the  little  Spanish  Influenza  bug. 

The  flu  epidemic  has  knocked  the  movies 
for  a  row  of  ice-packs. 

Picture  houses  all  over  the  country  are  nailed 
up  by  the  plague. 

And  as  fast  as  players  finish  current  pictures, 
they  are  being  given  four  week  layoffs  while  the 
photoplay  catches  up  to  itself. 

The  flu  has  already  taken  its  greatest  toll. 

Harold  Lockwood  has  just  died — fine,  big, 
handsome  Hal;  the  first  prime  favorite  of 
filmland  to  pass  at  the  top  of  his  game. 

His  going  breaks  up  one  of  the  happiest  of 
co-starring  teams.  May  .Allison  has  been  his 
teammate  in  many  pleasant  pictures. 

And  Bryant  Washburn  has  been  a  mighty 
sick  boy,  too,  but  is  on  the  mend. 

THED.\  B-ARA,  first  of  the  great  movie 
man-maulers,  has  just  crashed  out  with  her 

Mr.  Juhan  Johnson  (now  editor  of  Para- 
mount Pictures)  takes  a  long,  looping  hay- 
maker at  it  in  the  current  "Shadow  Stage." 

"As  Salome,"  says  the  learned  Johnson, 
"Miss  Bara  does  not  resemble  the  tigerish 
princess  of  Judea  so  much  as  a  neurasthenic 
taking  sun  baths." 

OUR  leading  editorial  takes  a  ringing  smack 
at  the  pretty  leading  men  who  funked  out 
on  the  war,  parading  the  boulevards  while 
less  sturdy  stars  massaged  warship  decks  or 
did  squads  east  with  the  doughboys. 

.And  there  is  mention  of  the  gold  star  for 
young  S.  Rankin  Drew,  who  died  on  active 
service  with  the  air  service  in  France. 

THIS  month  also  turns  loose  a  picture  about 
tlie  death  of  Edith  Cavell,  the  English 
nurse  executed  by  the  Germans  for  aiding  the 
escape  of  prisoners. 

Dr.  Johnson   gives  it   okay,   praising   the 


At  the  crest  of  his  career,  the  pop- 
ular Harold  Lockwood  died  ten 
years  ago,  a  victim  of  flu.  He  •v/2iS 
the  first  prime  favorite  of  filmdom 
to  pass 

work  of  Miss  Julia  Arthur,  legitimate  actress, 
in  the  lead.  Little  did  he  reck  that  in  1928  an 
English  picture  on  the  same  theme,  with 
Sybil  Thorndike  in  the  lead,  would  strike 
American  screens  and  rebound  without  a 

"N/TADGE  KENNEDY  is  a  popular  star  for 
■^'•'•Gold\\'yn,  and  Mae  Marsh  is  starring  in 
"Pride  of  Kentucky"  for  that  outfit  .  .  .  Alice 
Joyce's  new  picture  is  "The  Captain's  Cap- 
tain," and  Maurice  ("Dimples")  Costello  is 
already  relegated  to  a  character  part  .  .  .  Two 
pages  of  Sennett  bathing  beauts,  with  Phyllis 
Haver,  Harriet  Hammond,  Virginia  Warwick, 
and  Ethel  Lynn  leading  the  skin  parade  .  .  . 
Who's  this  in  the  picture  gallery  but  one 
Texas  Guinan?  .  .  .  She's  making  Westerns 
.  .  .  Others — Marjorie  Rambeau,  a  Peggy 
Hopkins  (Joyce)  and  Betty  Blythe,  all  curves 
.  .  .  Billy  T.  of  Toledo  is  breaking  her  heart 
over  Jack  Pickford  .  .  .  Want  to  be  an  old 
meany  and  check  up  ages?  ...  In  January, 
1919,  Bryant  Washburn  is  29,  Billie  Burke 
is  32,  Mary  Miles  Minter  is  16,  Kenneth 
Harlan  is  23,  Dorothy  Dalton  is  25  and  the 
Answer  Man  is  going  mad  .  .  .  John  Collins, 
Viola  Dana's  husband,  has  just  died  of  the  flu 
...  He  was  only  28. 

"T^HE  big  smash  picture  of  the  month  is 
■*-  "The  Squaw  Man." 

.Actors?    Oh,  a  few  ham  and  eggers. 

Elliott  Dexter,  Thurston  Hall,  Katherine 
MacDonald,  Tully  Marshall,  Noah  Beery, 
Ann  Little,  Theodore  Roberts,  and  Jack  Holt 
— the  last  as  that  varmint,  Cash  Hawkins. 

NO,  B.  A.  G.  of  Providence,  Mr.  Chaplin 
is  NOT  married  to  Miss  Purviance.  More 
than  that.  Miss  Purviance  is  not  married  to 
Mr.  Chaplin. 

Photoplay  Magazine — Advertising  Section 


Gossip  of  All  the 


If  Mr.  Locke  meets  with  the  characteristic 
adventures  of  authors  in  Hollywood,  headlines 
such  as  the  following  may  anjiounce  his 

W.  J.  LOCKE,  65 
LOOKS  95,  OUT 


STRANGE  ariid  tragic  circumstances  sur- 
round the  death  of  Arnold  Kent.  He  had 
struggled  hard  for  success  and  the  chance  of 
making  his  mother  and  sisters  in  Italy  com- 
fortable. He  took  out  an  insurance  policy 
of  S45,000  to  go  into  effect  on  October  1, 
Monday.  The  accident  occurred  the  Friday 
before.  He  died  Saturday.  Had  he  died  at 
midnight  Sunday,  his  family  would  have  been 
well  provided  for. 

At  the  time  of  his  death  he  was  playing  an 
important  role  in  "Four  Feathers"  and, 
according  to  Dick  Arlen,  was  stealing  the 
picture.  Dick  appreciated  the  boy's  worth  as 
an  actor.  Rumor  has  it  that  the  reason  Xorma 
Talmadge's  picture,  "The  Woman  Disputed." 
was  entirely  re-made  was  because  Kent  stole 
every  scene  from  Gilbert  Roland. 

He  was  on  the  verge  of  buying  a  beautiful 
home  in  Taluca  Lake  Park  and  his  money  was 
so  tied  up  that  at  the  time  of  his  death  he 
had  but  $60! 

AFTER  completing  his  final  shot 
for  the  "Redskin"  at  Chin  Lee, 
Richard  Dix  arrived  at  Gallup,  New 
Mexico,  late  at  night,  tired  and 
weary,  grabbed  a  pen  and  signed  the 
register  at  El  Navajo  hotel  thusly : 

"Richard  Dix— Chin  Yourself, 

INSTEAD  of  the  command  "Camera!"  the 
word  "Interlock"  is  used  on  a  talkie  stage 
when  a  scene  is  to  begin. 

The  other  day  William  de  Mille  was  directing 
a  romantic  moment  for  "Half  an  Hour"  with 
Ruth  Chatterton  and  John  Loder,  the  young 
English  actor. 

"Interlock,"  said  the  director. 

Loder  took  it  seriously  and  immediately 
ent%vined  his  arms  around  Ruth. 

LESS  than  a  year  ago  Hugh  Herbert,  former 
vaudeville  hcadliner,  and  prolific  writer  of 
sketches,  was  under  contract  to  W'arner  Broth- 
ers, furnishing  material  for  Vitaphone  sketches. 
It  was  during  the  lean  days,  financially,  and 
Jack  Warner  asked  Herbert  as  a  favor  to 
him  to  take  stock  in  lieu  of  salary.  Herbert 
did.  He  took  a  block  of  stock  when  it  was 
listed  at  17.    He  sold  it  when  it  was  139. 

"D  EMEMBER  Doris  May,  the  little  girl 
■'-^who  played  ingenue  leads  a  few  years  ago? 
She  married  Wallace  McDonald  and  retired 
from  the  screen  and  now  she  has  her  inter- 
locutory divorce  decree. 

Doris  was  bored  with  home  life  generally. 
She  wanted  to  go  abroad  and  she  thought  a 
trip  to  Europe  would  be  much  more  interesting 
if  she  made  it  as  a  single  woman,  so  Wallace 
obligingly  allowed  her  to  get  a  divorce.  He 
will  make  her  a  comfortable  allowance  while 
she  is  away.  All  the  time  he  is  hoping  she 
will  have  a  yen  for  home  life  again  before  the 
divorce  is  final. 

In  the  meantime,  Wallace  is  more  in  demand, 
both  as  director  and  actor,  than  at  any  previous 
date,  to  say  nothing  of  his  popularity  with  the 
ladies.  We  suggest  that  Doris  make  her  stay 
in  Europe  brief,  if  she  hopes  to  find  him  un- 
attached on  her  return. 

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Twinkle,  Twinkle,  little   star — 
I  don't  wonder  what  you  are, 
I  know  all  about  your  capers 
Just  by  reading  Sunday  papers. 

AN  e.xecutive  walked  into  the  casting  office 
of  a  well  known  "talkie"  studio  and 
advised  the  casting  director  in  this  manner, 
"Got  a  new  talking  find  for  you,  Joe.  He's 
playing  Movietone  now  at  the  Cathay  Circle. 
Fellow  named  Shaw." 

"Yeah?  What's  his  other  name,  what  sort 
of  an  act's  he  got?" 

"George  Bernard.    Does  a  monologue." 

"Not  interested  in  monologues." 

"But  this  guy  is  good.  I  understand  he 
plays  Hillstreet  next  week." 

The  casting  director  called  the  manager  of 
the  HiUstreet  Theater  and  asked  if  he  had  an 
act  of  George  Bernard  Shaw,  a  guy  with  a 

"Nope,"  was  the  response.  "We  haven't 
any  Shaws  booked,  but  if  he  plays  our  time 
I'll  give  you  a  buzz." 

SOME  time  ago  Dorothy  Sebastian  played 
for  a  short  period  as  John  Barrymore's 
leading  lady  in  "Tempest."  Then  something 
happened  and  Miss  Sebastian  was  no  longer 
leading  lady  for  JohnBarrymore  in"Tempest." 
Just  what  it  was  that  happened,  no  one  ever 
knew  for  sure.  Those  in  the  know,  however, 
say  that  it  was  a  political  conspiracy  between 
Sam  Taylor,  who  joined  the  Barrymore  com- 
pany as  director  after  finishing  Mary  Pick- 
ford's  last  picture,  and  Mr.  Barrymore  him- 
self. It  fell  upon  John  Considine's  shoulders 
to  let  Miss  Sebastian  go,  which  he  did  as 
painlessly  as  possible.  One  of  the  sops  he 
offered  was  the  two  reels  of  film  in  which  Miss 
Sebastian  had  appeared  with  Mr.  Barrymore. 
And  these  two  reels,  by  the  way,  are  very,  very 

Now  Miss  Sebastian  gets  quite  a  kick  out 
of  showing  the  reels  upon  occasion. 

Those  who  view  the  reels  get  a  kick  out  of 
comparing  the  work  of  Miss  Sebastian  with 
the  work  of  Camilla  Horn,  the  German  actress 
who  replaced  her  as  the  Barrymore  lead. 

We  understand  that  Mr.  Considine's  gallant 
gesture  represented  the  sum  of  $100,000,  that 
being  what  it  cost  to  produce  these  first  two 

TPNICK  ARLEN'S  dusky  man  of  all  work, 
-*— '^John,  is  about  to  become  a  bridegroom. 
He  has  requested  his  master  to  act  as  best  man. 
There  is  great  excitement  in  the  house!  The 
other  day  John  presented  himself  before  his 
employer.  "Look  heah,  Mistah  Ahlen,  Ah 
was  just  wonderin'  if  yo-all  had  a  pair  of  spats 
you  cud  loan  me?" 

Dick  would  have  gladly  complied  with  the 
request,  but  he's  probably  the  only  actor  in 
town  who  doesn't  own  a  pair  of  spats.  The 
wedding,  it  appears,  will  take  place  at  high  noon ! 

npHESE  large  Swedish  gentlemen  seem  to 
-^  have  the  most  quaint  sense  of  humor.  At 
a  studio  party  to  celebrate  the  completion  of 
a  new  Dane-Arthur  atrocity,  Karl  playfully 
turned  a  fire  hose  on  the  assemblage.  Now 
wasn't  that  cute  and  didn't  everybody  laugh? 
My  dear,  it's  just  too  adorable  the  way  these 
actors  carry  on. 

THE  cafe  is  so  close  to  the  sound 
stage  at  First  National  that 
either  the  cafe  will  have  to  be 
moved  or  the  soup  course  eliminated, 
says  Alice  White. 

rjRED  NIBLO  was  recently  asked  by  a  well- 
■'-  meaning  welfare  worker  if  most  film  stars 
found  time  in  their  busy  careers  for  homes  and 
housekeeping.  The  director  replied  solemnly, 
"A  home!  What  does  any  modern  girl  need 
with  a  home?  She  is  usually  born  in  a  hospital, 
educated  in  college,  courted  in  a  car,  and 
married  in  a  church.  The  routine  of  those  out- 
side of  studio  duties  include  mornings  on  the 
golf  course,  afternoons  at  bridge  tables,  and 
evenings  at  the  movies.  Apparently  all  the 
modern  girl  requires  is  a  garage!" 

ROD  LA  ROCQUE  and  Vibna  Banky  were 
separated  for  several  weeks  while  Vilma 
was  in  New  York  doing  a  picture.  Both  made 
a  verbal  pact  that  they  would  keep  a  motion 
picture  record  of  all  their  experiences.  They 
are  amateur  camera  fiends,  you'  know.  It 
was  agreed  that  Vilma  was  to  take  movies  of 
everything  that  happened  to  her  on  the  trip, 
while  Rod  was  to  give  a  complete  movie  account 
of  himself  in  Hollywood. 

It's  a  thought  for  separated  couples  and  the 
camera  doesn't  lie. 

With  Director  Bob  Leonard  holding  a  stop-watch  and  a  property 
man  furnishing  sighing  sea  breeze  with  an  electric  fan,  how  can 
Norma  Shearer  and  Johnny  Mack  Brown  get  hot  and  bothered  on 
this  romantic  moonlight  chair- ride?  It's  a  scene  from  Metro- 
Goldwyn-Mayer's  "The  Little  Angel."  And  how  do  you  like  Bob's 
Kamera  Kiddie  Kar? 

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Imagine  My 


He  has  that  all-essential  thins,  Youth.  And 
he  has  personality — just  another  name  for 
"IT."  He  has  rambled  and  touched  hands  with 
life  all  over  the  world — cattle  steamers  and  the 
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He  boxed  in  the  last  Olympics.  He  is  a 
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pepped-up  flivver,  intending  to  tour  the  state 
and  then  to  drive  across  the  continent  to 
Boston  and  home  sweet  home. 

But  that  all  happened  before  he  lunched  at 
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good  orgy  of  conversational  bromides.  It's  so 
comfortable  to  be  able  to  let  off  a  bromide  now 
and  then. 

Fancy  how  you'd  feel  if  everyone  you  met 
drew  you  aside  and  sounded  off  one  brilliant 
remark  after  another.  The  strain  would  set 
you  counting  your  fingers. 

Poor  Aileen  Pringle!  She  has  become  a 
symbol — the  incarnation  of  a  Large  and 
Fruity  Mind! 

Her  bon  mots  are  passed  from  mouth  to 
mouth  until  they  lose  their  quotation  marks 
and  are  palmed  off  as  originals.  People 
swoon  and  he  in  heaps  on  Hollywood  Boule- 
vard if  she  makes  a  remark  that  doesn't  ring 
like  the  schoolhouse  bell. 

And  the  horrible  thing  is  that  it  is  all  a  great 
big  bobble! 

."Mleen  didn't  go  for  this  sort  of  reputation 
as  literary  lion  and  pet  of  the  high  foreheads. 
It  was  wished  on  her  by  space  grabbers, 
columnists,  smart  Alecks  and  tub-thumbers 
in  general. 

If  you  mention  it,  Aileen  looks  at  you 
aghast  and  says  "What  do  you  mean — intel- 
lectual?" And  means  it. 

How  did  La  Belle  Pringle  get  that  way,  and 
what  if  she  did? 

.Aileen,  a  naturally  clever  person,  doesn't 
crave  bores.  And  you  can't  sue  a  girl  for  that. 
She  discovered  early  in  life  that  there  were  a 
lot  of  people  who  made  her  acutely  tired,  and 
so,  when  they  rang  the  bell  she  was  out.  Then 
she  found  a  group  of  people  who  stimulated 
her,  and  they  were  always  welcome.  Certainly 
no  catch  in  that. 

It  just  happened  that  some  of  the  boys  and 

girls  who  didn't  bore  her  made  good  livings  by 

writing  books  and  pieces  for  the  magazines. 

Suppose  the  people  who  didn't  bore  you 

were  plumbers. 

Would  you  relish  being  called  "The  Pet  of 
the  Pipe-Pounders"? 

But  just  because  Aileen  liked  people  who 
wrote  things  she  was  dubbed  "the  darhng  of 
the  intelligentsia."  Every  time  she  was 
caught  saying  howdy  to  a  pen  pusher  old 
meanies  whispered  that  she  had  added  a  new 
lion  to  her  literary  zoo. 

Aileen  isn't  a  social  lion  chaser.  The  only 
lion  that  ever  cracked  her  across  the  conscious- 

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Colleen  Moore  exhibiting  that  irreproachable  set  of  teeth  to 
Ambassador  Myron  T.  Herrick  on  the  First  National  lot,  during  his 
recent  Hollywood  visit.  His  Excellency  is  no  doubt  saying  some- 
thing gallant.    What  did  they  give  him  the  Legion  of  Honor  for? 

ness  is  the  M.-G.-M.  trademark  who  snaps  at 
three  flies  before  one  of  Mr.  Mayer's  opera 
unfolds  on  the  screen. 

She  didn't  make  any  effort  to  be  known  as 
the  favorite  of  the  smart  boys.  She  has  never 
let  out  a  line  of  publicity  to  the  effect  that 
writers  and  wits  can  be  found  in  every  nook 
of  her  home. 

This  greatness  has  been  thrust  upon  her  like 
a  rubber  check,  and  the  funny  part  of  it  is 
that  her  intellectual  friends  are  just  great 
playmates  and  regular  people.  They  never 
attempt  the  high  hat  with  her,  and  she  doesn't 
play  that  way  either. 

She  just  looks  at  you  wide-eyed  and  says, 
"What  do  you  mean — intellectual?" 

And  I  can  assure  you  that  I  had  a  rocky 
time  getting  Aileen  to  talk  about  them  at  all! 

npHIS  is,  in  fact,  the  first  time  she  has  ever 
•I- done  it! 

"The  idea  is,"  said  Aileen,  "that  if  you 
meet  one  of  the  people  who  write  or  paint  or 
make  epigrams,  you  meet  them  all.  They  come 
in  bunches,  like — " 

I  held  up  a  warning  finger. 

"Here,  my  lady,"  I  warned,  "if  you  are 
going  to  say  'bananas,'  it's  out.  You  can't  be 
bromidic.  Think  of  your  pubUc.  You  must 
be   intellectual   or   else!" 

"Or  else,  then,"  said  Aileen,  and  I  prayed 
that  she  wasn't  cross,  "I  don't  know  any 
people  who  expect  me  to  be  intellectual.  I 
don't  know  any  bores.  There  is  a  sort  of 
closed  corporation  here.  I  like  the  people  I 
like.  One  doesn't  have  to  be  clever  with 
clever  people." 

"But  your  public  expects  it."  I  threw  this 
harpoon  with  deliberation  and  malice. 

Aileen  mumbled  something  which  was 
muffled  by  the  creamed  chicken. 

I  have  an  idea  she  was  mildly  miffed,  in  a 
nice  way. 

So  I  stopped  teasing,  and  let  her  talk. 
That's  about  the  easiest  thing  anyone  can  do. 

It  was  probably  Joseph  Hergesheimer,  the 
novelist,  whose  friendship  with  Aileen  started 
The  Great  Pringle  Intellectual  Legend. 

She  met  him  in  Cuba,  it  seems.  She  had 
almost  met  him  once  before.  Someone 
thought  she  would  be  interested  in  the  author, 
and  introduced  them  over  the  phone.  Her- 
gesheimer said  he  would  call  at  her  hotel,  but 
that  afternoon  Aileen  was  run  down  and 
cornered  by  a  feminine  pest,  and  she  said  some- 
thing about  another  appointment  and  fled 
the  inn. 

Hergesheimer  wrote  her  a  note  to  the  effect 
that  he  was  sorry  he'd  missed  her.  It  wasn't 
a  clever  note  at  all — just  the  sort  you  or 
I  would  write  if  we  had  missed  out  on  a  meet- 

But  in  Cuba  they  met,  and  Hergesheimer 
made  himself  known.  Probably  he  merely 
said,  "How  do  you  do,  Miss  Pringle?  I'm 
Joe  Hergesheimer.  I'm  sorry  I  missed  you 
that  day  in  New  York," 

THEN  Ralph  Barton,  the  caricaturist,  wanted 
her  to  meet  H.  L,  Mencken,  critic  and 
editor,  Mencken,  oddly  enough,  bucked.  He  is 
a  shy  bachelor,  for  all  his  literary  fireworks,  and 
balks  at  meeting  women  places.  So  when 
Barton  arranged  a  get-together  dinner  at  his 
home,  Mencken  suggested  another  location, 
and  Aileen  couldn't  be  brought  along  to  grace 
the  meal, 

Mr,  and  Mrs,  Hergesheimer  were  coming 
back  from  somewhere  (Aileen  is  always  some- 
what vague  about  page  and  number)  and 
people  met  them  at  the  boat.  The 
Hergesheimers  and  Mencken  and  Aileen  all 
found  themselves  in  the  same  motor.  Aileen 
got  some  California  climate  in  her  eye  and 
Mencken  showed  her  the  most  approved 
method  of  rolling  the  lid  over  a  pencil.    Oh  my 

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dear,  what  a  lot  of  things  have  started 
that ! 

There  have  been  many  other  friends  in  the 
artistic  world.  The  Ernest  Boyds,  Carl  Van 
Vechten,  Theodore  Dreiser,  George  Jean 
Nathan,  Rupert  Hughes,  Thomas  Beer, 
Konrad  Bercovici — just  all  the  people  who 
circle  about  in  that  smart  set.  Aileen  liked 
them — they  liked  her. 

Any  cause  there  for  calling  her  an  "in- 
tellectual" in  some  vague,  derogatory,  high- 
brow sense? 

These  people,  oddly  enough,  play  just  the 
way  we  do,  only  much  simpler.  They'd 
rather  play  lotto  than  bridge. 

Once  when  Aileen  was  visiting  Joe  and 
Dorothy  Hergesheimer,  she  walked  out  on 
the  back  lawn  and  found  a  perfectly  divine 
place  for  a  croquet  set. 

"You  really  must  have  croquet  here,"  she 

"No,  I  won't,"  said  Joe,  pugnaciously, 
"You  fall  over  the  wickets,  and  the  balls 
skin  your  shins.  And  it's  a  silly  game,  any- 

This  didn't  slow  La  Belle  Pringle.  Back  in 
New  York,  she  sent  the  Hergesheimers  the 
smartest  croquet  set  jhe  could  find.  The 
mallets  were  red  and  gold,  and  each  wicket  had 
a  candle  on  top  so  the  game  need  never  be 
called  on  account  of  darkness. 

A  FEW  days  later  she  and  Mencken  were 
-^  ^  calling. 

"Joe,  did  you  get  a  little  gift  I  sent?"  asked 

"I  did,"  said  the  novelist,  "but  I'm  trying 
to  forget  it.  I  think  it's  under  the  sink.  At 
any  rate,  it  will  be  set  up  over  my  large  dead 

That  afternoon,  while  the  Hergesheimers 
went  oflf  stalking  antiques,  Aileen  and  Mencken 
put  up  the  set  themselves.  They  howled  over 
it,  and  the  wickets  were  cockeyed  and  the 
staves  wouldn't  go  in,  but  there  the  croquet 
set  was,  up  and  active.  The  Hergesheimers 
gave  in. 

Anything  highbrow  about  that? 

Such  are  the  simple  pleasures  of  the  lords 
of  the  mind. 

Of  course,  many  know  the  gag  that  Mencken 

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'and  .\ilccn  pulled  on  Hergesheimer  when  he 
arrived  in  Los  Angeles.  They  met  him  at 
the  train  with  a  domino,  and  conducted  him 
with  much  fanfare  to  his  hotel,  where  his 
room  was  decked  with  crepe  paper  and  bunt- 
ing. _ 

Cigars  were  passed  and  speeches  piade — 
in  short,  a  regular  greeting  of  the  sort  that 
delights  Mencken  in  his  studies  among  the 
"Boobus    Americanus"    tribe. 

pOR  the  most  part,  however,  Aileen  finds  her 
•*-  chief  pleasure  with  her  friends  in  goo<l, 
pleasant  talk  about  everything  in  the  world. 
(When  Mencken  gets  to  a  town  he  looks  first, 
not  for  the  leading  literatus  of  the  place,  but 
for  a  good  glass  of  beer.)  Van  Vechten  enter- 
tains for  her  in  New  York,  and  she  for  him  in 
Hollywood.  The  parties  are  small,  and  the 
evenings  are  talkfests,  and  not  tall  millinery 
talk  either. 

Now,  the  point  of  this  story,  if  it  has  a 
poiat,  is  that  Aileen  Pringle  is  a  really  intelli- 
gent woman.  There  is  nothing  I'd  rather  do 
than  spend   hours   with   her. 

When  you're  bidden  to  luncheon  you  seldom 
go  into  the  dining  room.  You  eat  from  trays 
in  the  sitting  room,  where  the  talk  flows  fine 
and  free. 

Her  con\-ersation  is  genuinely  witty  and 
tremendously  absorbing.  She  is  very  clever. 
She  was  once  offered  an  editorial  job  on 
"Vanity  Fair." 

But  remember  that  she's  not  a  posing  high- 
brow. Remember  that  she's  no  pubUcity 

She  has  never  talked  about  her  writing 
friends  before,  and  she  never  collected  one 
genius  for  mere  collecting's  sake. 

She  likes  them,  that's  all,  and  they  like  her. 
They  talk  the  same  language,  and  they  do 
amusing,  ordinary,  homey  things. 

The  intellectuals  are  good  playmates,  and 
just  because  a  gal  happens  to  be  an  actress  is 
no  reason  why  she  can't  pick  her  friends  from 
sparkling  minded  men  and  women. 

And  that's  all  there  is  to  the  legend  of 
Aileen  Pringle  as  Hollywood's  Great  Aloof 

No  more  hooey,  please,  about  .Aileen  as  the 
Pet  of  the  Sophisticates. 

Good   Girl 

I  CONTINtlED  FROM  PAGE  100  1 

"Poor  old  Ellen!"  said  her  listeners.  It  was 
"PooroW  Ellen"  now. 

Some  unkind  soul  wrote  Ellen  enclosing  a 
clipping  from  an  interview  with  Ken.  ...  He 
"couldn't  stand  a  gaga."  His  taste  "ran  to 
women  of  the  world. 

"There  was  something  pathetic  about  per- 
ennial ingenues"  .  .  . 

Ellen  let  Randall  Peters,  the  business  man- 
ager, take  her  out  that  night.  Hereyeswerevery 
bright,  but  hard  instead  of  soft,  and  her  smile 
seemed  frostbitten.  She  asked  for  a  cigarette 
and  drank  a  second  glass  of  white  wine.  Mr. 
Peters  was  rather  slight,  his  hair  was  thin  and 
he  stammered.  But  he  hstened  beautifully. 
He  heard  all  about  Ken  before  the  evening 
was  over. 

"V\  THEN  the  year  was  up,  Ellen  came  back  to 
''»  Hollywood.  Ken  was  standing  outside 
the  Athletic  Club  when  she  passed. .  .  .  She  was 
sitting  on  her  spine  at  the  wheel  of  a  low 
foreign-looking  car,  speeding  so  that  he  caught 
only  a  glimpse  as  she  flashed  by.  She  had 
bobbed  her  hair.  The  carmine  line  of  her  lips 
was  like  a  flame  in  the  dead  white  of  her  make- 

"Ellen's  gone  flapper,"  people  said,  as  they 
caught  sight  of  her  darting  into  the  Ambas- 
sador, running  up  the  Montmartre  stairs,  or 
hurrying  out   of  a   studio.      She   was  always 

rushing.  Her  hair  was  a  little  shorter  than 
anybody's  and  so  were  her  skirts.  She  said 
"si"  for  "yes,"  "cara  mia"  for  "my  dear" 
and  wore  a  flame-orange  sport  coat  that  she 
called  "my  Rome  rag." 

CHE  swept  her  bewildered  brother  out  of  the 
^bungalow  and  into  a  purple  house  that 
sprawled  on  the  side  of  a  hill,  bedrooms  open- 
ing on  a  lower  road  and  kitchen  on  an  upper 
one,  a  devotee  of  new  art  "doing"  the  place  so 
that  it  looked  as  if  it  had  been  decorated  by  a 
persevering  child.  Randall  Peters  said  it 
would  be  a  good  place  for  a  squirrel  to  go 

Ken  came  up  to  see  it  and  Eflen  greeted  him 
with  a  kiss.  "Cara  mia,  what  absolute  ages 
since  I  saw  you!  ...  I've  been  dying  to  find 
out  who's  your  bootlegger.  Do  send  him 
around — we  get  the  vilest  stuff!" 

She  was  smoking  a  cigarette  that  matched 
her  costume;  the  costume  itself,  of  poppy-red 
and  black,  could  have  been  packed  in  a  vanity 

She  was  more  animated  than  Ken  had  ever 
seen  her,  but  when  he  had  left  she  stood  at  the 
tiny  barred  porthole  in  the  purple  door  very 
quietly,  her  carmine  lips  trembling,  the  light 
gone  from  her  eyes. 

Mariie  and  Ellen  found  themselves  chorus- 
ing, "Have  you  no  vices?"  when  little  Janet 



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Gates  refused  a  cocktail  at  the  opening  of  the 
newest  club.  They  looked  at  one  another  over 
their  own  glasses. 

"If  it  isn't  little  Bright  Eyes!"  cried  Marjie. 
"My  dear,  you  look  like  an  illustration  from 
some  frightful  modern  book.  Where've  you 
Ijeen?  .  .  .  Oh,  yes,  that  god-awful  picture. 
I  saw  it!  .  .  .  Hope  you  landed  a  tame  duke 
over  there.  .  .  .  Have  you  heard?  But  of 
course  you  have!  Wonder  Tim  AUingham 
doesn't  tumble.  Gertie  Alhngham  was  always 
a  perfect  idiot,  and  even  if  Tim  is  out  of  town 
this  week — " 

It  was  five  minutes  before  Ellen  knew  what 
she  meant.  Then  Ellen's  eyes  that  had  been 
searching  restlessly  ever  since  Randall  Peters 
had  brought  her,  found  Ken  Laurel.  He  was 
bending  over  Gertie  AUingham.  Her  soft 
blonde  hair  was  growing  and  hung  in  loose 
curls  on  her  neck.  Her  dress  was  long,  the 
white  net  falling  to  her  ankles,  though  the  silk 
slip  stopped  at  her  knees.  She  looked  like 
an  old-fashioned  valentine,  and  Ken — there 
was  something  about  the  way  he  looked  at 
her.  .  .  . 

"Tim'sa  jealous  beast.  .  .  .  This  gin  tastes 
like  bad  varnish.  .  .  .  Ken'd  better  watch  his 
step  or  he'll  find  himself  on  the  outside  looking 
in,  if  not  too  badly  damaged  to  look  at  all. 
His  fan  mail's  fallen  off.  .  .  .  What?  Well, 
nobody  loves  a  fat  man!" 

Ken  danced  once  with  Ellen.  Only  Ellen 
knew  that  that  was  because  she  asked  him. 
.-Vnd  only  Ellen  knew  that  while  she  was  in  his 
arms  her  heart  was  crying:  "Oh,  love  me! 
Love  me!" 

"D  ANDALL  PETERS  had  gone  ahead  to 
■t»-bring  his  car  to  the  door  when  Ken  left  the 
club,  so  tliat  several  people  saw  Ken  and  Ellen 
go  down  the  covered  way  together.  Ellen  was 
glad  of  that  until  she  saw  that  all  his  atten- 
tion was  centered  on  the  door  behind  them. 
Mrs.  Allingham's  blonde  head  was  visible 
through  the  glass. 

Randall  made  the  difficult  curves  up  to  the 
purple  house  in  silence.  He  had  a  gift  for 
knowing  when  Ellen  couldn't  chatter.  She 
could  be  her  real  self  with  him,  not  the  smart, 
sophisticated  stranger  who  had  come  home 
from  Italy. 

"Th-that's  your  phone,  Ellen.  Shall  I 
answer?"  he  said,  when  he  had  unlocked  the 
purple  door.  He  took  the  instrument  out  of  its 
jazz  cabinet.  "H-hello  .  .  .  Who  wants  her? 
.  .  .  It's  K-ken  Laurel." 

She  seized  the  receiver.  "What  is  it,  dolce 
amone?  .  .  .  Si — si,  this  Our  NeU.  .  .  .  Oh! 
Oh,  I  see.  ...  On  the  MulhoUand  Drive.  .  .  . 
Is  she — badly  hurt?  .  .  .  Yes — yes,  I'll  come." 
Yes,  instead  of  i; —  .  .  .  She  put  the  telephone' 
back  in  its  cabinet,  with  fingers  carefully 
steady.    "What  time  is  it.  Randy?" 

"T-two  twenty.    Where  are  you  going?" 

She  shrugged  into  her  white  and  silver  cloak. 
"Ken's  car  turned  over  on  Mulholland.  Mrs. 
Allingham's  hurt.  He  wants  me.  He's  bpen 
calling  for  ages.  If  we  hadn't  gone  to  the 
beach  before  coming  home — " 

"I'll  go.     Don't  to;« — " 

She  pushed  past  him  and  ran  out  to  the  car. 
"Hurry!  Oh,  don't  lalk — hurry!  Someone 
else  might  get  there — " 

"What  if  they  d-do?"  But  he  was  at  the 

"T_riS  career's  ruined,  that's  what!  Tim 
-'■  -'-.Vllingham  would  either  shoot  him  or  name 
him  in  a  divorce  suit.  .  .  .  Can't  you  go  faster? 
.  .  .  No,  I  (/oh'/ think  he  was  drinking!  Oh,  let 
us  get  there!"  The  high  coUar  of  her  cloak  had 
ruffled  her  short  hair  so  that  it  stood  up 
wildly;  she  could  not  keep  her  hands  still. 

Through  the  black  night  they  sped,  their 
lights  pricking  the  dark  ahead — curve  after 
curve,  hill  after  hill.  .  .  .  At  length:  "Ken!" 
on  an  uptake  of  Ellen's  breath,  and  Randall 
slowed  under  a  giant  eucal>ptus.  There  was 
a  scratch  across  Ken's  face  on  which  the  blood 
had  dried. 

"She's  back  here."  Ken  hfted  Ellen  from 
the  car.  "Ellen,  I  knew  you  would!  ...  I 
don't  know  how  bad  she's  hurt,  but  I  can't 
moA-e  her.  .  .  .  Listen  .  .  .  You've  been  with 
us  all  evening  .  .  .  You  and  I — i/ze  was  just — 
just  along,  see?  .  .  .  We've  got  to  get  her  to  a 
doctor.    Y'ou've  got  to  be  :;'///;  her,  see?" 

"I  won't  have  Ellen  m-mi.xed  up  in  this!" 
cried  Randall. 

But  she  mer^y  patted  his  arm  and  ran 
toward  the  overturned  roadster.  Part  of  it 
pinned  Gertie  AUingham  to  the  asphalt;  her 
fair  curls  lay  limply  against  the  fluff  of  pink 
shawl  that  had  billowed  up  as  she  fell;  the  net 
of  her  skirts  was  torn  and  muddied,  and  one 
of  her  arms  was  bleeding. 

"Move  the  car,"  directed  Ellen.  She  tugged 
at  the  girl  when,  between  them,  the  men  had 
managed  to  lift  the  weight.  "There.  .  .  . 
Carry  her,  one  of  you.  I'll  hold  her  in  the  back 
seat.  We'll  take  her  to  my  house  and  call  a 

Filming  a  scene  on  a  new  war  machine.    This  big  bombing  plane, 

capable  of  destroying  whole  cities,  is  held  captive  while  George  Hill 

directs  some  scenes  for  "Gold  Braid" 

Every  advertisement  In  PHOTOPliAT  MAGAZINE  Is  guaranteed. 

Photoplay  Magazine — Advertising  Section 


She  told  Gertie,  efficiently  and  gently,  as  the 
old  Ellen  would  have  done,  but  she  did  not 
talk  as  Randall  drove  through  the  graying 
morning.  Let  Ken  and  Randall  argue.  .  .  . 
What  did  it  matter?  .  .  .  What  did  anything 

Gertie  lay  in  one  of  the  green-and-orchid  jazz 
beds  in  the  spare  room  of  the  purple  house, 
clad  in  an  apricot  silk  gown  of  Ellen's.  The 
doctor  bent  over  her,  absent-mindedly  cursing 
the  ruffle-dimmed  lamps.  In  the  hall  outside, 
Randall  and  Brother,  the  latter  in  a  shabby 
dressing-gown  and  slippers,  waited  and  wor- 
ried. From  the  hall  above,  they  could  hear 
Ellen's  hard  little  voice  telephoning  to  Gertie's 

"She's  going  to  be  all  right,  the  doctor  says. 
Slight  concussion,  yes.  He  said  slight.  She 
can  come  home  tomorrow  ...  I'm  so  sorry — " 

The  first  newspaperman  called  up  before  the 
doctor  left. 

"'T'HIS  is  Ken  Laurel,"  said  Ken,  at  the  in- 

-'■  strument.  "Yes,  most  unfortunate.  Why 
— a — Miss  Field  and  I  were  leaving  the  new 
club  when  Mrs.  Allingham  found  there'd  been 
some  mistake  about  her  car — calling  her  car — 
so  we —  .  .  .  Yes,  MulhoUand  .  .  The  car 
turned  over — hit  something  and  skidded — Mrs. 
Allingham  was  pinned  under  it.  Miss  Field  has 
a  few  bruises  but  nothing  .  .  .  Not  on  the  way 
home!  No.  we  decided  to  look  at  the  ranch 
we're  thinking  of  buying —  .  .  .  What?  .  .  . 
MissFieldand  I  .  .  .  We're  getting  married — " 

"OhI"  cried  Ellen,  softly.  Brother  had  in- 
sisted on  putting  her  warmest  negligee  over 
her  brief  evening  gown.  The  blue  feather 
trimming  stood  up  about  her  head.  She  looked 
like  a  tired  child  in  her  corner  of  the  settee. 

"We're  giving  notice  of  intention  today," 
went  on  Ken,  eying  Ellen  over  the  transmitter 
with  the  gaze  of  one  consciously  noble. 

He  was  still  looking  noble  when  he  set  down 
the  telephone  and  came  over  to  kiss  her  .  .  . 

She  didn't  go  to  bed  at  all,  just  hopped  into  a 
bath  and  dressed  for  an  early  call,  dashing  off  to 
spend  the  day  being  pursued  by  a  screen 
menace  up  and  down  a  plank  and  plaster  hill 
on  one  of  the  largest  stages.  Her  legs  ached 
so  that  they  shook  when  she  stood  still. 

Ken  called  for  her  at  noon,  conspicuous  in 
the  rose  brocade  of  a  court  costume  with 
queued  and  powdered  wig  and  black  beauty 
patches  accentuating  his  sea-blue  eyes. 

"We've  just  time  to  dash  to  the  license 
bureau,"  he  said,  wrapping  a  fur  coat  about 
her  ragamuffin  garb. 

"But — "  she  began,  and  in  spite  of  it  found 
herself  beside  him  in  his  topless  racer. 

News  cameras,  doubtless  notified  in  advance, 
clicked  as  they  left  the  car,  as  they  entered  the 
building,  and  again  as  they  signed  their  names. 
Ellen  tried  to  hide  her  roughened  hair,  to  wipe 
off  some  of  the  grimy  streaks  her  make-up 
had  demanded,  to  dodge  behind  Ken  at  the 
last  instant,  but  he  seemed  to  enjoy  the  pro- 
ceeding. He  gave  his  age  as  twenty-six, 
though  she  knew  he  was  seven  years  her  senior, 
so  she  reduced  hers  to  twenty-four. 

They  reached  the  studio  just  as  Ellen's 
scene  was  being  called.  It  was  Randall  Peters 
who  remembered  she  hadn't  had  luncheon  and 
brought  hot  soup  in  a  thermos  bottle. 

■[^EN'S  shadow  lay  across  Ellen's  plate  as 
■'-^they  sat  at  Marjie's  Cocoanut  Grove  table 
— a  watery,  blurry  shadow  cast  by  the  gay 
parrot  lamp  the  other  side  of  Ken.  Ellen's 
tired  eyes  rested  on  it,  but  she  couldn't  remem- 
ber what  it  should  have  brought  to  mind.  She 
was  so  weary.  She  hadn't  wanted  to  go  when 
Marjie  had  called  up  to  announce  a  dinner- 
dance  "in  honor  of  your  catching  Ken,"  but 
the  bridegroom-to-be  had  overruled  her. 

"It's  good  business,"  he  said.  "Ought  to 
get  alotof  publicity  out  of  this." 

He  was  a  bit  impatient  with  her  for  being  so 
tired.  After  all,  he  had  been  up  all  night, 
too!  .  .  .  He  hadn't  been  running  away  from 
a  husky  villain  all  day,  though.  And  he 
wasn't  shaken  up  over  being  engaged  at 
last.  .  .  . 

tender  skin 
need  not  be 


AT  THEN  mittens  slip  off,  and 
'V  tiny  hands  get  rough  and 
cracked  —  relieve  the  painful 
chitpping  with  Mentholatum. 
Also  keeps  mother's  skin  soft 
and  white.  Feci  it  healt 

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appreciated  than  a  subscription  to  Photoplay. 
You  will  find  a  subscription  coupon  on   page  115 

How  to  Keep  Love 

when  excess  fat  might  lose  it 

People  who  are  over- 
fat  lose  in  youth  and 
beauty,health  and  vigor. 
What  a  pity.  Excess  fat 
is  now  easily  controlled. 
You  see  that  in  every 

Some  years  ago  sci- 
ence discovered  a  great 
cause  of  overweight.  It 
lies  in  a  gland  which  is 
under-active — a  gland 
which  largely  controls 
nutrition.  Fat  is  not  lost 
to  stay  lost  until  that 
defect  is  corrected. 

The  modern  method  of  treating  obesity  is 
embodied  in  Marmola  prescription  tablets. 
They  were  perfected  in  a  famous  medical 
laboratory.  People  have  used  them  for  20 
years — millions  of  boxes  of  them.  They  have 
told  the  results  to  others,  and  year  by  year 
the  use  has  spread. 

Today  you  see  the  effects  in  every  circle. 

Slender  figures  are  the 
rule.  Countless  people 
who  were  over-fat  now 
have  normal  weight. 
Women  look  younger, 
more  attractive.  Men 
have  gained  in  vigor. 
One  great  reason  is 
found  in  Marmola. 

Each  box  of  Marmola 
contains  the  formula, 
also  the  scientific  rea- 
sons for  results.  You 
know  what  you  are  tak- 
ing and  why.  No  hard 
be  moderate.  Then  take  four  tablets  daily 
until  weight  comes  down  to  normal. 

Try  Marmola,  because  of  what  it  has  done 
for  over  20  years  for  so  many  .The  results  will 
be  a  revelation  to  you.  Do  this  for  your  own 
sake.  Do  it  now. 

Marmola  prescription  tablets  are  sold  by  all 
druggists  at  $1  per  box.  If  your  druggist  is 
out,  he  will  get  them  at  once  from  his  jobber. 


Prescription  Tablets 

The  Pleatant  Way  to  Reduce 

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Brief  reviews  of  current  pic- 
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The  truth  and  nothing  but 
the  truth,  about  motion 
pictures,  the  stars,  and  the 

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"Show  Dick  your  ring,  Ellen,"  he  directed, 
over  his  shrimp  cocktaU. 

She  held  out  her  finger  obediently,  and  the 
big  diamond  flashed  under  the  lights.  She 
tried  to  look  pleased,  but  her  dream  ring  had 
been  a  circlet  of  tiny  stones  with  "Forever" 
engraved  inside. 

"  Set  me  back  quite  a  bit,"  boasted  Ken. 

He  paid  little  attention  to  her  save  for 
moments  of  overacted  devotion  which  left  her 
hot  with  confusion,  and  jokes  directed  at  her, 
such  as:  "She  got  me  at  last,  boys!"  "Wait 
till  after  the  divorce — " 

Ellen  made  a  little  noise  that  passed  for 
laughter  at  these  sallies,  but  she  heard  them 
only  vaguely.  The  vision  of  bed  swam  before 
her  eyelids, — white-pillowed,  soft  and  warm 
and  quiet  .  .  .  Bed,  Sleep — Sleep.  .  .  . 

They  were  laughing  again.  She  didn't  care 

She  looked  at  Ken,  seeing  him  with  a  sudden 
frightening  clarity, — a  man  with  pouches  of 
dissipation  under  his  eyes,  a  tendency  to  a 
double  chin  and  a  paunch — selfish,  self- 
centered,  gross  .  .  .  Slie  was  engaged  to  tins 

The  blurry  shadow  across  her  plate  lifted. 
Ken  was  getting  up. 

"Come  on,  Marjie,  let's  do  some  stepping. 
.  .  .  Ne'mind  thebaU-and-chain." 

But  she  did  run  away. 

She  slipped  out  behind  the  little  raised  booth 
that  held  their  table,  scurried  to  the  dressing 
room,  retrieved  her  cloak,  and  sped  on  to  the 
hotel  desk. 

"Dear  Ken,"  she  wrote  on  the  paper  the 
clerk  gave  her.  "Here's  the  ring.  I  don't 
want  to  marry  you.  I'm  sorry.  I  just  don't." 
She  signed  it  "Ellen  Field,"  and  gave  it  to  a 
bellhop.    Then  she  ran  downstairs. 

She  wasn't  so  numb  with  weariness  now. 
She  felt  free — as  if  someone  had  given  her 
wings.  She  moved  lightly  down  the  passage 
between  the  hghted  shops. 

It  wasn't  surprising  to  find  Randall  Peters 
standing  near  the  revolving  doors.  It  was 
merely  beautiful  and  natural.  He  rushed  to 
meet  her. 

"Ellen!  .  .  .  Are  you  all  r-right?  .  .  . 
Where  are  you  going?" 

She  put  her  hand  in  his  and  smiled  up  at  him. 

"Anywhere — with  you,"  she  said. 

Amateur  Movies 


feet  of  film  for  this  production  has  been  de- 
veloped by  members  in  the  club  laboratory. 
The  other  production  will  be  an  all-interior 
film  to  be  directed  by  John  B.  il'IppoUto,  Jr. 
Research  work  has  been  completed  for  this 
film  and  the  scenery  and  costumes  have  been 
designed.  Mr.  d'IppoHto  states  that  the  scenic 
backgrounds  will  be  used  symbolically  to  evoke 
the  stor.y's  mood. 

FOTO-CINE  Productions,  an  amateur  club 
in  Stockton,  Cahf.,  is  producing  a  16  milli- 
meter film  under  the  working  title  of  "Three 
Episodes"  for  PnaroPLAY's  Amateur  Movie 
Contest.  The  plot  scenario,  written  by  Robert 
Burhans,  is  based  upon  the  World  War  and 
the  motion  picture  treatment  has  been  worked 

out  well  within  amateur  limitations.  A  mov- 
ing camera  will  be  used  and  the  story  will  be 
told  completely  without  sub-titles. 

Wallace  W.  Ward  is  president  of  Foto-Cine 
Productions,  Edwin  Farrell  is  vice  president 
and  supervisor«and  Alice  Buckle  is  secretary. 
Mr.  Burhans,  author  of  the  scenario,  is  also  the 
director  of  "Three  Episodes." 

"PRINCETON,"  the  production  of  the  Un- 
-'-  dergraduate  Motion  Pictures  of  Princeton 
University,  is  attracting  a  lot  of  attention 
among  amateurs.  Shown  to  the  Chicago  Cin- 
ema Club  at  a  recent  meeting,  it  was  en- 
thusiastically received.  The  Cumberland 
Amateur  Motion  Picture  Club,  of  Vineland, 
N.  J.,  recently  viewed  it  with  approval. 

$2,000  Amateur  Movie  Contest  Rules 

1.  $2,000  in  cash  pri-es  will  be  awarded  by 
PHOTOPLAY  as  follows: 

Class  One, 

$500  for  the  best  amateur  photoplay. 

$250  for  the  second    best  amateur  photo- 

$1 50  for  the  third  best  amateur  photoplay. 

$100  for  the  fourth  best  amateur  photo- 

Qlass  Two. 

$500  for  the  best  non-dramatic  picture. 

$250   for   the   second    best   non-dramatic 


$1 50    for    the    third    best    non-dramatic 


$100    for    the    fourth    best    non-dramatic 

In  the  event  that  two  or  more  films  prove 
of  equal  merit  in  their  consideration  for  any 
award,  duplicate  prizes  will  be  given  for  each 
tying  film. 

2.  CLASS  ONE — Devoted  to  photoplays, 
will  embrace  all  pictures  made  by  ama- 
teurs in  which  amateur  actors  appear, 
whether  of  a  dramatic  or  comedy  nature. 
CLASS  TWO— Will  include  all  other 
motion  pictures  such  as  films  of  news 
events,  home  pictures,  travelogues,  sport 
shots,  studies  of  animal,  bird  or  plant 
life,  etc.,  made  by  amateurs. 

3.  In  awarding  prizes  the  judges  will  con- 
sider the  cleverness,  novelty  and  fresh- 
ness of  idea  and  treatment,  as  well  as  the 
general  workmanship.  Under  the  head 
of  general  workmanship  comes  photog- 
raphy, lighting,  editing  and  cutting  and 
titling.  In  Class  One,  added  items  of 
consideration  will  be  direction,  make- 
up and  acting  ability. 

4.  All  films,  to  be  considered  by  the  judges, 
must  come  within  the  following  specified 

If  >S  millimeter,  the  contest  film  must  be 
1,000  feet  or  less  in  length. 

If  16  millimeter,  it  must  be  400  feet  or  less 

in  length. 

If  9  millimeter,  it  must  be  60  feet  or  less  in 


All    films    must    be    submitted    on    non- 

infiammable  stock   with   the  names  and 

addresses  of  the  senders  securely  attached 

to  the  reel  or  the  box  containing  the  film. 

Name  and  address  of  the  sender  also  may 

be  part  of  the  film  itself. 

5.  Any  number  of  contest  films  may  be  sub- 
mitted by  an  individual  or  amateur 

6.  Any  person  or  amateur  organization  can 
enter  this  contest.  Professional  cinema- 
tographers  are  barred,  as  well  as  anyone 
employed  by  PHOTOPLAY  MAGA- 
ZINE or  any  relatives  of  anyone  employed 
by  PHOTOPLAY.  Winners  of  PHOTO- 
PLAY'S first  amateur  movie  contest  may 

7.  AH  films  are  to  be  addressed  to  the 
judges.  The  Amateur  Movie  Contest, 
57th  Street,  New  York,  and  are  to  be  sub- 
mitted between  October  1,  1928,  and 
midnight  of  March  31st,  1929. 

8.  The  jury  of  judges  consists  of  Professor 
George  Pierce  Baker  of  Yale,  Philip  K. 
Wrigley,  Stephen  Voorhees,  Colonel  Roy 
W.  Winton,  Wilton  A.  Barrett,  King 
Vidor,  James  R.  Quirk  and  Frederick 
James  Smith. 

9.  PHOTOPLAY  assumes  no  responsibility 
for  loss  of  films  in  transit  and,  while 
every  precaution  will  be  taken  to  safe- 
guard them,  this  publication  will  not  be 
responsible  for  loss  or  injury  in  any  way- 

10.  As  soon  as  possible  after  the  conclusion 
of  the  contest,  the  prize  winners  will  be 
announced  and  the  films  returned  to 
senders  on  receipt  of  sufficient  postage 
for  return  transportation. 

Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 

Photoplay  Magazine — Advertising  Section 

I  I  I 

Photoplay  Reviews  the  Film  Year 


Tom  Mix  and  Fred  Thomson  will  not  have  so 
much  trouble  making  out  their  income  taxes 
this  year.  The  minor  Western  stars  have  been 
making  reservations  at  their  old  ranches. 

1928  showed  a  preference  for  tough  babies, 
principally  blonde.  Witness  Phyllis  Haver's 
gun-girl  of  "Chicago,"  iMarie  Pre vost's  belle  of 
the  reformatory  in  "The  Godless  Girl"  and 
Betty  Compson's  hard  boiled  gals  of  "The 
Docks  of  New  York"  and  "The  Barker,"  not 
to  mention  Dorothy  Mackaill's  carni\al 
charmer,  also  of  "The  Barker."  The  advent  of 
Baclanova  was  in  this  get-your-man  division. 
On  the  other  hand,  more  refined  blondes,  such 
as  the  heroine  of  "Gentlemen  Prefer  Blondes," 
did  not  win  popular  favor.  Thus  Ruth 
Taylor's  debut  as  Lorelei  attracted  only  a 
ripple  of  attention. 

Every  epic  film  now  has  its  theme  song. 
Unless  you  own  a  radio  you  can't  realize  what 
this  means.  Our  favorite  theme  song  is 
"Woman  Disputed,  I  Love  You."     1929  will 

have  to  step  some  to  top  this  maukish  classic. 

If  you  ask  me  for  my  personal  choice  of  the 

twelve  best  performances  of  1928,  here  they  are: 

Emil  Jannings  in  "The  Patriot"  and  "The 

Last  Command." 

L.  M.  Leonidoff  in  "Czar  Ivan  the  Terri- 

Alexis  Davor  and  Olga  Korloff  in  "The 
End  of  St.  Petersburg." 

Sybil  Thorndyke  in  "Dawn." 
Conrad   Veidt   and   Baclanova  in   "The 
Man  Who  Laughs." 

Lewis  Stone  in  "The  Patriot." 
Louise  Dresser  and  Madge  Bellamy  in 
"Mother  Knows  Best." 

Baclanova  in  "Street  of  Sin." 
"The  Patriot,"  to  me,  was  easily  the  best 
American-made  film  of  1928.     "Four  Devils" 
would  be  my  second  choice. 

The  two  best  imported  pictures  were  "Czar 
Ivan  the  Terrible"  and  "The  End  of  St. 
Petersburg,"  both  Russian. 

Brief  Reviews  of  Current  Pictures 


*RED  DANCE — Fox. — More  Russian  revolution, 
dramatically  directed  by  Raoul  Walsh.  Charles 
Farrell,  Ivan  Linow  and  Dolores  del  Rio  head  an 
exceptional  cast.    The  picture  is  a  real  thriller.  (July.) 

REFORM — Chadwick. — Wherein  a  mush-headed 
psychologist  reforms  a  good-looking  girl  crook  by 
teaching  her  to  eat  with  a  fork.     {July.) 

RETRIBUTION— Warners.— Vitaphone  with  a 
bad  script  but  our  old  friend,  Henry  B.  Walthall, 
registers  neatly.    {Dec.) 

♦REVENGE— United  Artists.— The  third  of  the 
three  "R's"  of  Edwin  Carewe  and  Dolores  Del  Rio. 
Pictorially  attractive  gypsy  stuff.     {Ocl.) 

RIDING  TO  FAME— Elbee.— Does  the  villainous 
bookie  succeed  in  queering  the  horse  race  and  wreck- 
ingyoung  love?    Don't  be  dumb!     (August.) 


Trivial  comedy  of  the  training  camps.  {Dec.) 

RINTY  OF  THE  DESERT— Warners.— An  ap- 
pealing and  unusual  dog  story  with  the  one  and  only 
Rin-Tin-Tin.     {July.) 

RIVER  WOMAN,  THE— Gotham.— Fine  and 
sincere  story  with  a  splendid  performance  by  Jac- 
queline Logan.    (Oct,) 

ROAD  HOUSE— Fox.— Proving  that  flaming 
youth  got  the  idea  from  the  older  generation.  Rather 
hot.     (Oct.) 

ROMANCE    OF    A    ROGUE,    THE— Carlos.— 

Soggy.     {November.) 

ROUGH  RIDIN'  RED— FBO.— Buzz  Barton's 
red  hair  triumplis  over  cinematic  slush.    (November.) 

RUNAWAY  GIRLS— Columbia.— StuflFy  melo- 
drama with  a  moral.    (Dec.) 

SALLY    OF    THE    SCANDALS— FBO.— Bessie 

Love  puts  life  into  a  back-stage  story  that  might  have 
been  dull.      (August.) 

SALLY'S  SHOULDERS— FBO.— Slightly  exas- 
perating.    (Oct.) 

SAL  OF  SINGAPORE— Pathe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

From  ballyhoo  artist  to  lady  soul-saver,  played  by 
Esther  Ralston.     (Oct.) 

SAY  IT  WITH  SABLES— Columbia.— Heigh-ho  I 

Another  gold-digger  story.    {September.) 

SCARLET  DOVE,  THE— Tiffany-Stahl.— Mili- 
tary life  in  Czarist  Russia.  Mostly  bedroom  scenes. 
Lowell  Sherman — the  cur — acts  grand  and  wears  as 
many  gaudy  uniforms  as  a  Roxy  usher.     (July.) 

SCARLET  LADY,  THE— Columbia.— Ho-hum, 
more  Russians.    Silly  stuff.    .(Oct.) 

SEX  LIFE  OF  THE  POLYP— Fox-Movietone.— 
Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.     (November.) 

SHIP  COMES  IN,  A— Pathe-De  Mille.— How 
patriotism  comes  to  an  immigrant  family.  (Sept.) 

SHOULD  A  GIRL  MARRY?— Rayart— Pre- 
senting the  sad  problems  of  a  gal  with  a  past.  (Dec.) 

SHOW  FOLKS— Pathe.— Just  an  obvious  story  of 
theatrical  people  and  their  struggles.     (November.) 

SHOW  GIRL— First  National.— It  misses  the 
piquant  charm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     {November.) 

+SHOW  PEOPLE  —  Metro-Goldwyn-Mayer.  — 
Marion  Da  vies  and  William  Haines  portray  the  funny 
side  of  the  goof  who  would  get  into  the  movies. 
Recommended.      (August.) 


coal  hole  of  a  ship — if  ihtrl's  what  interests  you.    (Dec.) 

*SINGING  FOOL,  THE— Warners.— Saga  of  a 
mammy  shouter.  With  Al  Jolson.  Sobs  and  Vita- 
phone  songs.     (Oct.) 

SINGLE  MAN,  A— Metro-Gold  wyn- Mayer.— 
Aileen  Pringle  and  Lew  Cody  in  their  best  smart-set 
comedy  so  far.       (Oct.) 

SINNERS  IN  LOVE— FBO.— Little  gal  alone  in 
a   big  cit\'.      Where   have   you    heard   that   before? 


SIN  TOWN— Pathe.— Just  a  poor  western.  (Oct.) 

SISTERS  OF  EVE — Rayart.— Mystery  story  of 
a  missing  millionaire  who  is  not  missed  by  his  hard- 
hearted bride.    Fair  enough.     (November.) 

SKIRTS— Metro-Goldwyn-Mayer.  —  Syd  Chap- 
lin in  a  soggy  British  comedy.     {September.) 

SMILIN*  GUNS— Universal.— Hoot  Gibson  in  a 
really  funny  one.     (Oct.) 

SMOKE  BELLE W— Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 

SO  THIS  IS  LOVE— Columbia.— Slightly  goofy 
story  of  a  dressmaker's  assistant  turned  prize-fighter 
— all  for  love.  With  William  Collier,  Jr.,  and  Shirley 
Mason.     (July.) 

Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.     (November.) 

SPEED  CHAMPION,  THE— Rayart.  —  If  you 

can  get  steamed  up  over  the  adventures  of  a  grocery 
boy.    {September.) 

SPIELER,  THE— Pathe. — Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    {Dec.) 

SPIES  —  UF.A.— Metro-Goldwyn-Mayer.-  Dull 
story  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      {Dec.) 

STATE   STREET   SADIE— Warners.— Can    you 

believe  it?      Another   underworld  story.      And    not 
among  the  best.     (July.) 

STICK  TO  YOUR  STORY— Rayart —Fun 
among  the  reporters.  My.  what  a  life — and  what  a 
picture!     (Dec.) 

STOLEN  LOVE— FBO.— A  quickie.  Try  the 
show  down  the  street.  (Dec.) 

STOP  THAT  MAN— Universal.— Arthur  Lake  in 
a  comedy  that's  a  riot  of  fun.  Watch  this  lad! 

STORMY  WATERS— Tiffany-Stahl.  —  Eve 
Southern  tries  a  Sadie  Thompson  but  this  story  of 
love  in  the  tropics  doesn't  quite  come  off.     (August.) 


Defu-First  National. — German  picture  with  original 
plot.    Just  a  bit  heavy.     (August.) 

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STREET  OF  ILLUSION— Columbia.— Back- 
stage story  and  an  interesting  defense  of  the  Tfjespian 
ego.     (Dec.) 

♦STREET  OF  SIN,  THE— Paramount.— Tech- 
nically a  fine  picture  but  the  story,  a  brutal  tale  of  the 
London  slums,  is  repellent.  The  least  satisfactory  of 
Emil  Jannings'  American  productions.    (July.) 

STRIVING  FOR  FORTUNE  —  Excellent. — 
Doity  woik  in  the  siiip-yards.     (November.) 

STRONGER  WILL,  THE— Excellent.— Just  one 
long  yawn.     (August.) 

SUBMARINE— Columbia.— A  great  thriller,  with 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

TAKE  ME  HOME— Paramount.— Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 

TAXI  13— FBO.— Chester  Conklin  in  the  funny 
adventures  of  a  superstitious  taxi  driver,    (Oct.) 

TELLING  THE  WORLD  —  Metro-Goldwyn- 
Mayer. — That  comical  cuss.  Bill  Haines,  goes  to 
China.  More  darned  fun,  in  a  silly  way.  Anita  Page, 
who  makes  her  debut  in  this  one,  is  all  to  the  good. 

TENTH  AVENUE— Pathe-De  Mille.— Boarding 
house  life  on  the  wrong  side  of  Manhattan.  Heavy 
melodrama  and  vividly  played  by  Phyllis  Haver, 
Victor  Varconi  and  Joseph  Schildkraut.     (July.) 

*TERROR,  THE— Warners.— Mystery  stuij,  well 
presented  in  an  all-talkie.      (Ocl.) 

THREE  RING  MARRIAGE— First  National,— 
Heart  interest  and  comedy  in  an  original  story  of 
circus  life.     (September.) 

THROUGH      THE      BREAKERS— Gotham.— 

South  Sea  Island  story — and  a  really  good  one.  (Dec.) 

THUNDERCLOUD,  THE— Anchor.— A  good 
scenic,  but  shy  on  drama.     (Oct.) 

TIDE  OF  EMPIRE— Metro-Goldwyn-Mayer.- 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TIMES  SQUARE— Gotham.— Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     (November.) 


enough  war  burlesque  but  enough's  enough.  (Sept.) 

TRAIL  OF  COURAGE,  THE  —  FBO,— Cactus 

epic  and  simply  terrible.    (September.) 

UNCLE  TOM'S  CABIN— Universal.— Originally 
reviewed  in  January.  Sound  effects  have  increased 
its  box-office  value.     (Oct.)  ' 

UNDRESSED— Sterling.— Teaching  us  not  to  be 
mean  to  our  children  and  also  not  to  pose  for  strange 
artists.    An  odd  plate  of  hash.    (September.) 

UNITED  STATES  SMITH  —  Gotham.  —  Eddie 
Gribbon  and  Mickey  Bennett  in  a  roughneck  but 
funny  comedy.     (August.) 

The  return  of  Jack  Holt  to  the  Paramount  ranch. 
And  the  result  is  a  Grade  A  Western.     (August.) 

VARSITY — Paramount. — The  more  sentimental 
side  of  life  at  Princeton.  Charles  Rogers  and  Mary 
Brian  will  make  it  popular  with  the  young  folks.  (Oc/.) 

VIRGIN  LIPS— Columbia.— Respectable,  in  spite 
of  ttie  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     (November.) 

WALKING  BACK— Pathe-De  Mille.— Trivial 
story  of  the  younger  generation  made  interesting  by 
the  presence  of  the  charming  Sue  Carol.     (July.) 

WARMING  UP— Paramount.— Richard  Dix  In  an 
original  and  really  funny  story  of  a  bushleague 
pitcher.     Family  diversion.     (July.) 

*WATERFRONT— First  National.— Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with  a  dirty 
face.  And  he  is  again  aided  by  Dorothy  Mackaill. 
A  comedy  with  originality.    (November.) 

WATER  HOLE,  THE— Paramount.— De  Luxe 
Zane  Gray  Western  that  marks  the  return  of  Jack 
Holt.    (November.) 

WEDDING  MARCH,  THE— Paramount —Von 
Stroheim's  romance  of  old  Vienna,  messed  up  with 
some  repellant  scenes  and  characters.  Some  good 
moments,  but,  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon  Chaney  goes  cripple  again.  So  does  the  plot. 

*WHEEL  OF  CHANCE— First  National.— Rich- 
ard Barthelmess  does  some  good  acting  in  a  dual  rdle. 
You  forget  the  improbabilities  of  the  story  in  your 
interest  in  the  star's  acting  and  the  dramatic  situa- 
tions.    (August.) 

WHEN  THE  LAW   RIDES— FBO.— Something 

better  than  the  conventional  Western  plot.  With 
Tom  Tyler  and  Frankie  Darrow.     (August.) 

WHILE  THE  CITY  SLEEPS— Metro-Goldwyn- 
Mayer. — Lon  Chaney  au  naturel.  Swell  crook  story. 

WHIP,  THE— First  National.— Dorothy  Mackaill 
in  an  English  sporting  melodrama  that  just  misses 
being  thrilling.     (September.) 


Metro-Goldwyn-Mayer. — Just  misses  being  a  re- 
markable picture.  Its  weakness  of  story  is  atoned  for 
by  some  of  the  most  beautiful  tropical  pictures  ever 
filmed,     (August.) 

WIFE'S  RELATIONS,  THE— Columbia.— Naive 
romance  of  an  heiress  who  finds  a  job  and  a  husband 
in  a  department  store.     (August.) 

WILD  WEST  ROMANCE— Fox.— Some  thrills  in 
this  Western  but  Rex  Bell,  the  newcomer,  will  never 
fill  the  Stetson  of  Tom  Mix.     (August.) 

WIN  THAT  GIRL— Fox.— With  Sue  Carol  and 
Dave  Rollins.  Otherwise  nothing  to  recommend  it. 

*WOMAN  DISPUTED,  THE— United  Artists.— 
Norma  Talmadge  and  Gilbert  Roland  are  excellent  in 
a  stirring  drama  of  Central  Europe  during  the  war. 
(September.)   * 

WOMAN  FROM  MOSCOW,  THE— Paramount. 
— Pola  Negri's  swan  song  for  Paramount.    (Oct.) 

WOMAN'S  WAY,  A— Columbia.— This  time  the 
diamond  necklace  is  lost  in  the  Latin  Quarter  of  Paris. 

WOMEN   THEY   TALK    ABOUT— Warners.— 

Charming  Vitaphone  comedy.      (Oct.) 

WOMEN  WHO  DARED— Excellent.— Slumming 
party  to  the  lower  East  Side,  as  the  movies  picture 
it.     (August.) 

WRIGHT  IDEA,  THE— First  National.— But 
gone  wrong.     (Oct.) 

YELLOW  CONTRABAND  —  Pathe.—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 

YELLOW  LILY,  THE— First  National.— Con- 
cerning the  bad  habit  of  archdukes  of  falling  in  love 
with  ladies  who  live  on  the  other  side  of  the  tracks. 
Billie  Dove  and  Clive  Brook  are  the  principal  reasons 
why  you'll  want  to  see  the  picture.     (July.) 

tertainment,  with  Buzz  Barton.  (Dec.) 

"An  apple  a  day  keeps  the  director  away."    It's  the  oldest  form  of 

vamping  in  the  world.     The  girl  playing  Eve  is  Greta  Garbo  and 

the  head  man  in  the  picture  is  Victor  Seastrom,  her  director 

Every  adrertlaement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 

Photoplay  Magazine — Advertising  Section 

Diet — The  Menace  of  Hollywood 


contract  with  the  Hal  Roach  Studios.  Pretty, 
talented — but  overweight! 

The  order  came. 

She  must  lose.  Those  pounds  HAD  to  come 

She  went  on  a  diet,  so  strenuous  that  she 
collapsed  and  was  rushed  to  a  sanatorium. 
Today  you  do  not  see  her  on  the  screen.  Holly- 
wood has  forgotten  her. 

She  has  dropped  out  completely  from  the 
film  world. 

There  are  dozens  of  stories  of  this  kind  to  be 
recounted.  There  is  hardly  a  star  in  the  busi- 
ness who  has  not,  at  one  time  or  another,  been 
sentenced  to  diet.  Their  own  ideas  on  the  sub- 
ject are  almost  identical.  In  the  first  place 
they  must  do  it  and  they,  themselves,  do  not 
realize  what  effect  it  will  have  upon  their 
health.  They  are  not  convinced  enough  of  the 
danger  from  diet  to  make  an  effort  to  change 

There  is  but  one  beam  of  hope.  "The  girls 
could  stop  all  this  nonsense  if  they  would,"  said 
Dr.  Willis,  "  but  they  don't  know  they're  being 
harmed  by  it.  They  could  band  together  and 
refuse  to  take  off  this  ridiculous  amount  of 
weight.  They  seem  to  get  the  sort  of  clothes 
they  want  at  the  studios.  They  make  a  big 
enough  howl  about  dressing  rooms  and  lighting 
and  publicity.  Why  don't  they  start  a  cam- 
paign about   their  figures?     Because  of  this 

stupid,  atrocious  style  they  are  affecting  the 
health  of  women  the  world  over." 

Will  there  be  a  new  woman?  Will  these  slim 
princesses  disappear  from  the  silver  sheet? 
Anita  Page  has  gone  right  on  playing  leading 
roles  and  Anita  is  one  of  the  few  girls  who  is 
average  weight.  She  is  five  feet  two  and 
she  weighs  118  pounds.  That  is  just  one  pound 
below  the  correct  weight.  Her  fan  mail  in- 
creases. There  have,  as  yet,  been  no  criticisms 
in  the  papers  about  her  figure.  She  is  a  novice 
to  the  screen  and  she  may  be  the  herald  of  a 
new  era  in  filmdom. 

Recently  it  was  reported  that  eighty  per  cent 
of  the  women  who  took  out  marriage  licenses  in 
a  given  month  were  plump,  so  maybe  the  pro- 
ducers are  wrong  and  maybe  men  do  like  'em  a 
trifle  hefty  after  all. 

At  any  rate,  one  thing  is  certain.  The  stars 
cannot  keep  up  when  they  are  underfed. 
Tragic,  isn't  it,  that  they  should  work  so  hard 
for  luxury  and,  when  it  comes,  be  too  starved 
to  enjoy  it? 

But  this  battle  of  fame  versus  health  is 
bound  to  bring  the  dawning  of  a  new  screen 
era.  The  pendulum,  no  doubt,  will  swing  to 
the  other  extreme.  And  you'U  be  drinking 
milk  and  eating  large  quantities  of  mashed 
potatoes  yet  to  be  in  style.  In  the  meantime, 
however,  don't  copy  the  stars'  figures  nor  their 
diets  if  you  want  to  be  well  and  happy. 

Conrad  in  Quest  of  a  Voice 


before  the  lens  in  a  few  seconds.  And  even 
at  that,  if  it  sags,  it  can  be  saved  by  cutting. 
In  making  sound  pictures,  however,  a  scene 
cannot  be  cut.  The  conversation  must  carry 
through,  the  tempo  must  be  sustained.  Thus, 
the  experienced  stage  actor  has  a  distinct 
advantage,  for  he  is  in  the  habit  of  holding 
his  audience  for  as  long  a  period  as  twenty- 
five  minutes,  the  length  of  an  entire  act. 

"Due  to  this  lack  of  stage  experience,  there 
has  been  an  incHnation  on  the  part  of  screen 
players  to  talk  their  lines.  By  that  I  mean 
they  forget  to  act  their  parts,  they  forget  to 
be  natural  and  at  ease;  they  step  out  of 
character  to  speak.  But  experience  is  rapidly 
changing  this,  and  players  are  learning  that 
all  they  need  to  do  is  be  absolutely  natural 
before  the  microphone — as  natural  as  though 
they  were  talking  on  the  telephone." 

In  the  first  pictures  employing  conversation, 
Nagel  admits  that  he  and  all  others  made  the 
same  sad  mistake  of  speaking  vrtth  exaggerated 
emphasis,  each  word  enunciated  distinctly  and 
by  itself. 

"That  of  course  was  artificial.  It  registered 
just  that  way  on  the  recording  device.  It 
destroyed  all  semblance  of  personality,  of 

"With  the  perfection  of  reproducing  methods, 
however,  with  the  development  of  a  'vocal 
technique,'  the  voice  is  bound  to  take  on  a 
new  significance,  to  become  a  dominant  factor. 

"TN  fact,  I  feel  sure  that  the  time  will  come 
-'-when  players  will  be  known  by  their  voices. 
There  will  be  'voice  fans.'  People  will  go  to 
see  certain  players  because  they  like  to  hear 
them  speak.  'There  will  even  be  sex  appeal 
in  the  voice." 

Conrad  Nagel  was  the  first  male  star  ever  to 
appear  in  a  full-length  talking  picture.  Al 
Jolson,  of  course,  launched  the  speakies  by  his 
bit  of  conversation  in  "The  Jazz  Singer." 
But  Jolson  was  not  a  motion  picture  actor. 
And,  too,  Nagel  appeared  in  "Glorious  Betsy" 

before  Jolson  brought  forth  his  "Singing 
Fool."  To  that  extent,  then,  Nagel  has  con- 
tributed to  this  new  chapter  of  cinema  prog- 
ress. And  when  talkie  history  is  written,  he 
will  be  listed  among  the  pioneers. 

If  there  was  ever  any  skepticism  regarding 
Nagel's  magnetism  and  latent  power,  that 
doubt  died — or  will  die — under  pressure  of  his 
voice  personality. 

"T  BELIEVE,"  he  predicted,  "that  talking 
-•■  pictures  will  do  much  to  make  correct  Eng- 
lish popular.  Recently  I  listened  to  the  accept- 
ance speeches  of  both  our  presidential  can- 
didates and  was  surprised  at  the  number  of 
words  each  mispronounced.  Yet  both  are  well 
educated  men — especially  Herbert  Hoover,  a 
college  graduate,  trained  in  the  science  of 
engineering.  The  fact  that  they  did  not 
speak  correctly  is  nothing  for  which  to  criticize 
them,  however.  In  fact,  correct  speech  is  so 
novel  that  probably  they  would  have  been 
criticized  for  using  it.  They  would  have  been 
looked  upon  as  above  the  common  people,  as 
ript  being  down  to  earth.  And  that,  naturally, 
would  have  cost  votes. 

"As  a  rule,  people  are  afraid  to  speak  good 
English.  They  are  afraid  of  being  'razzed,' 
of  being  called  high-hat.  It's  the  same  com- 
plex that  keeps  men  from  being  well-dressed, 
from  appearing  at  their  best  instead  of  their 
half-best.  If  a  man  ever  should  be  correctly 
garbed,  it  is  when  he  goes  to  a  Ijanquet.  Yet 
how  many  wear  c\'ening  Clothes  willingly  or 
well?  They  are  afraid  of  looking  ridiculous,  of 
what  the  other  fellow  will  say.  Vanity  defeats 
them.  They  hide  from  perfection  in  imper- 
fection. And  so  it  is  with  the  proper  usage  of 

"But  the  screen  will  change  all  that.  Of 
course,  there  will  be  both  good  and  bad 
EngUsh  in  pictures,  depending  upon  the  char- 
acter one  assumes.  Incorrect  speech,  however, 
wUl  be  a  part  of  characterization;  correct 
speech  wUl  be  the  ideal.    And  where  the  screen 

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has  created  a  world-wide  desire  to  impress 
by  appearance,  it  will  now  produce  an  earnest 
wish  to  become  effective  through  the  medium 
of  words." 

With  this  end  in  view,  Conrad  Nagel  has 
approached  school  authorities  in  Los  Angeles 
to  suggest  special  departments  and  courses  for 
voice  training  and  also  for  specialization  in 

"My  thought,"  he  said,  "is  to  originate 
this  branch  of  education  in  the  city  where 
pictures  are  made,  and  to  let  it  spread  from 
the  cinema  center  to  the  rest  of  the  world. 

"Since  the  world  began,  there  has  been  pride 
in  speech.  Oratory,  in  fact,  is  one  of  the  oldest 
arts.  Demosthenes  stood  by  the  sea  with  his 
mouth  filled  with  pebbles  and  struggled  to 
enunciate  his  words  distinctly  in  order  that  his 
pronunciation  might  be  the  clearer  with  the 
impediment  removed.  It  was  the  study  of 
oratory  which  in  the  very  beginning  developed 
\'oice  personality." 

"pROM  now  on,  there  is  bound  to  be  special 
■*-  effort  to  concentrate  on  this  new  angle.  Al- 
ready it  looms  among  screen  aspirants  as  the 
coming  craze. 

Like  bobbed  hair  and  Oxford  bags,  it  will 
be  the  great  affliction. 

"But  this  wild  rush  to  voice  teachers  and 
elocutionists,"  says  Nagel,  "wiU  not  accom- 
plish the  purpose  hoped  for.  Personally,  I 
think  that  if  all  the  elocution  teachers  were 
rounded  up  and  dropped  overboard,  it  would 
be  a  good  riddance. 

"Elocution  teachers  concentrate  on  artifici- 
ality. They  take  naturalness  entirely  out  of 
the  voice.  And  how  unnecessary,  for  what  a 
simple  thing  it  is  to  speak  correctly  and,  at 
the  same  time,  naturally. 

"Have  you  heard  Rabbi  Wise  or  George  Ber- 
nard Shaw  on  the  Movietone?  Their  English 
is  flawless,  their  diction  perfect,  and  there  is 
not  the  slightest  suggestion  of  artificiality  in 
the  voice  of  either. 

"I  took  voice  training  during  my  college 
course,  and  even  after  I  went  to  New  York 
to  go  on  the  stage.  I  had  a  terrible  struggle 
to  shake  my  mid-western  twang,  and  de- 
veloped a  series  of  exercises  for  my  tongue  and 

lips  that  I  practiced  diligently,  all  for  the 
purpose  of  breaking  my  drawl,  and  also  to 
place  my  voice  correctly.  The  enunciation  of 
words  along  with  the  tone  of  the  voice  means 

"Did  you  ever  see  Clarence  Darrow,  famous 
criminal  attorney,  slumped  down  in  his  chair, 
half  asleep,  absolutely  insignificant  in  ap- 
pearance? Yet  when  the  man  rumbles  that 
voice  of  his  to  the  far  corners  of  the  room, 
its  vibrations  strike  the  emotional  sounding 
board  oi  every  listener.  Without  that  marvel- 
ous voice,  powerful  in  the  beginning,  no  doubt, 
but  perfected  through  years  of  training  in  the 
practical  school  of  oratory,  Clarence  Darrow 
would  be  anything  but  the  great  force  he  now 
represents  before  the  bar. 

"To  my  mind,  he  is  one  of  the  most  out- 
standing examples  of  the  importance  of  voice 

It  was  Conrad  Nagel's  voice  that  brought 
him  conspicuously  to  the  front  in  public 
activities  of  the  Film  Capital.  Resonance  and 
volume  give  an  impression  of  personality  en- 
tirely at  variance  with  his  screen  self.  We  get 
no  adequate  impression  of  the  Nagel  physique 
in  pictures,  for  through  some  unknown  trickery 
of  the  lens  he  is  disclosed — as  he  himself 
admits — not  as  a  man  of  unusual  stature  but 
much  smaller  than  he  really  is. 

■pEOPLE  are  often  surprised  when  they  learn 
^  that  Nagel  is  more  than  six  feet  tall,  that  he 
weighs  nearly  one  hundred  and  seventy 
pounds,  that  he  has  an  athlete's  body,  every 
muscle  a  sinew  of  steel.  Taking  hold  of  his 
arm  is  like  grabbing  up  a  chunk  of  cement 

On  his  feet,  addressing  an  audience,  this  man 
Nagel  is  a  bundle  of  dynamite.  The  intensity 
of  his  voice  completely  dominates  his  auditors. 
Not  only  is  he  eloquent,  he  gives  to  his  words 
a  conviction  that  carries  unquestioned  sincer- 

And  as  far  as  he  can  be  heard,  his  words 
are  distinct,  understandable. 

It  will  be  interesting  to  watch  the  Nagel 
career,  as  well  as  the  Nagel  predictions.  He, 
with  a  few  others,  is  a  cinema  Columbus  of  the 
moment,  striking  out  into  a  new  world. 

The  Universal  film  lot  is  puncture  proof,  thanks  to  this  comical 
contraption  invented  by  Frank  Graves,  the  studio's  boss  electrician. 
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objects,  thus  reducing  the  automobile  upkeep,  if  not  the  payments 

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I  I 

The  Studio    Murder 


nigan  related  his  story  faithfully  as  follows: 
"Well,  I  come  on  duty  as  usual  at  sivin.  I 
made  me  rounds,  and  near  froze  to  death 
with  the  dirty  fog  creepin'  down  me  back. 
Nothin'  happened  up  to  me  9:,?0  round,  whin 
I  heard  Seibert  carryin'  on  as  usual  on  Stage 
Six.  Thin  later  Wiss  Beaumont  comes  on,  so 
MacDougal  tells  me,  and  Billy  West.  About 
that  time  things  begin  to  happen.  ..." 

WHAT  things?" 
"Well,  sor,  nothin'  you  can  put  yer 
finger  on,  and  MacDougal  he  tells  me  I'm  a 
domned  liar.  Not  in  so  many  words,  you 
understand,  but  that's  his  manin'  all  right! 
Anyways,  whin  I  starts  on  me  11:30  round  I 
sees  a  woman's  figger  runnin'  down  the  women's 
dressin'  rooms  in  direction  of  Hardell's  room. 
...  I  see  it  sneakin'  down  the  steps,  sor! 
Thin,  later,  I  see  a  dark  figger  stealin'  out  of 
the  bushes  on  the  West  side  of  Stage  Six,  and 
makin' for  the  stage  door  .  .  ." 

"That  was  about  .  .  .  midnight?" 

"Just  at,  sor.  I  was  just  fetchin'  up  at 
Stage  Six,  which  same  would  be  near  tweh'e 
o'clock.  Whin  I  gets  up  to  the  stage,  the  figger 
has  disappeared.  I  thinks  to  meself  it's  inside, 
and  makes  to  go  on  the  stage.  Then  Seibert 
bellows  out  fer  me  to  stay  off .  .  .  ." 

"Does  he  often  do  that?" 

"Sure,  it's  second  nature  to  him,  sor!  Bad 
cess  to  him!"  with  another  quick  glance  of 
defiance  at  Rosenthal.  The  president  said 

"You're  right,  Lannigan.  Mr.  Seibert  has 
too  much  temperament.  .  .  ." 

"Timper,  plain  and  simple,  I'd  call  it,  sor! 
Well,  thin  I  goes  back  to  the  gate,  and  talks  a 
bit.  Pretty  soon  Seibert  and  Hardell  come  out 
in  Seibert's  car.  Seibert,  contrary  to  his 
custom,  speaks  to  us!  He  says,  'Goodnight, 
men!'  and  Hardell,  who's  always  been  in  the 
habit  of  exchangin'  a  word  whin  he  comes  and 
goes,  sings  out,  'It's  a  great  life  if  you  don't 
weaken!'  I'm  tellin'  this,  sor,  because  whilst 
I  nivver  had  much  use  fer  a  dirty  bum  like 
Hardell,  he  knows  how  to  treat  a  man  decent 
whin  he  meets  him!" 

"'Y"OU  could  swear  that  Seibert  and  Hardell 

•*•  went  out  of  this  studio  .  .  .  together  .  .  . 
at  that  time,  Lannigan?"  said  Smith  with  sud- 
den sharpness. 

"And  why  couldn't  I  swear  it?  Ain't  it  the 
truth?"  bridled  the  little  Irishman. 

"And  what  time  did  they  go?" 

"Just  before  I  wint  over  to  have  me  lunch, 
as  I  said  ...  it  was  12:17  by  me  clock,  sor, 
and  that  was  the  time  MacDougal  marked 
thim  out." 

"All  right.  Now,  did  you  see  any  more  dark 

"  Right  after  I  hears  the  banshee,  I  sees  wan 
skeedaddlin'  across  the  lawn  from  Stage 
Six.  .  .  ." 

"Lannigan,  you're  night  watchman  of  this 
studio,  aren't  you?" 


"Then  wouldn't  it  have  been  your  duty  to 
investigate  these  queer  happenings?" 

"Sure,  and  didn't  I  want  to  do  that  very 
thing,  sor?  Didn't  I  tell  Mac  me  suspicions? 
And  what  does  he  say  to  me?  He  says  I  niv\er 
seen  that  first  figger  at  all  .  .  .  that  the  only 
woman  on  the  lot  is  Miss  Beaumont,  and  I  can 
see  by  her  light  she's  up  in  her  room,  and  the 
other  wan  he  says  is  Billy  West  makin'  a  sneak 
fer  the  stage  as  soon  as  he  can  to  get  his  script ! 
And  the  third,  which  same  I  sees  after  I  hears 
the  banshee,  Mac  won't  hear  to  at  all!  He 
tells  me  it's  me  ignorant  Irish  superstition,  and 
if  I  thinks  I  hears  a  banshee,  which  same  I 
couldn't  have  heard  at  all,  there  not  bein'  any 

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such  cratures,  wiiy  thin  of  course  I  couldn't 
have  seen  any  other  dark  figger  .  .  ."  and 
Lannigan  spat  disgustedly  on  his  hands  and 
rubbed  them. 

"And  so  he  wouldn't  encourage  you  to 
make  a  search  of  the  lot?" 

"Encourage  me?  Not  him.  I  was  goin'  to 
ask  him  to  come  along  .  .  .  but  I  sees  he 
thinks  I'm  a  domn  fool.  .  .  ." 

"But  you  heard  that  banshee  .  .  .  don't 
forget  that!"  said  Smith  insistently. 

"T  AIN'T  likely  to  forget  it,  nor  would  ye  be 
-l-yerself ,  sor ! "  snapped  Lannigan  impatiently. 
Smith  smiled, 

"That's  right.  Now  Lannigan,  who  do  you 
really  think  that  last  dark  figure  was?" 

"Judgin'  by  what's  been  goin'  on  this  lot 
fer  some  time  past,  I'd  say  it  was  MacDougal's 
daughter,  which  same  inference  is  what  made 
Mac  so  mad  the  first  time  I  told  him  .  .  ." 

"The  first  time?" 

"Well,  you  see,  sor,  not  knowin'  there  was 
any  lady  on  the  lot  whin  I  sees  that  first  dark 
figger  goin'  in  the  direction  of  Hardell's  room, 
I  thinks  to  meself  it  must  be  Mac's  daughter. 
Which  same  I  would  not  have  mentioned  to 
him  only  he  made  me  mad  whin  he  pokes  fun 
at  me  fer  me  Irish  superstitions  .  .  ." 

"Did  you  tell  him  you  thought  it  was  his 

"Not  in  so  many  words,  sor  .  .  .  but  he 
knew  what  I  meant." 

"Km  ...  I  understand  his  daughter  has 
been  mixed  up  with  Hardell.  Perhaps  you 
know  about  that?" 

"I  could  tell  you  things  would  open  yer  eyes, 
sor  .  .  .  which  same  I  finds  out  whin  I  makes 
me  round  of  the  stages  at  night !" 

A  groan  came  from  Rosenthal.  He  banged 
his  fist  down  on  his  desk.  Not  with  a  crash, 
but  softly  .  .  .  hopelessly. 

"Onmylot!  On  my  stages !  The  dirty  low- 
lifer!"  he  muttered.  He  was  overcome  with  an 
overwhelming  sense  of  his  impotency.  He  had 
made  the  unwritten  law  .  .  .  and  how  they 
had  broken  it  .  .  .  broken  it  to  the  end  that 
murder  had  been  committed.  The  realization 
that  he  had  not,  after  all,  controlled  the  be- 
havior of  the  people  who  worked/  for  him  in 
such  things,  sobered  him  and  saddened  him. 

"So  it  made  MacDougal  mad,  did  it?  Then 
I  take  it,  he  doesn't  like  this  affair  between 
his  daughter  and  Hardell.  ..." 

"Like  it?  He  turns  cold  as  an  icicle,  and 
mutters  he'll  kill  the  man  if  he  catches  'em. ..." 

"You've  heard  him  say  that?" 

"Didn't  I  just  say  I  had?  I  ain't  the  only 
wan.  Others  have  heard  him,  too.  The  day 
watchman,  fer  wan." 

"And  what  time  did  you  suggest  to  him 
that  you  might  have  seen  his  daughter?  Was 
it  before,  or  after,  you  went  across  for  your 

"Before.  Shortly  after  midnight,  it  was, 

"That's  all  for  the  present,  Lannigan,  thank 
you,"  said  Smith  then. 

"If  it's  not  askin'  too  much,  sor,  will  you  tell 
me  what  happened  last  night?"  burst  from  the 
little  man. 

"D  wight  Hardell  was  murdered  on  Stage 

"Holy  Mither  o'  God!"  breathed  Lannigan, 
and  crossed  himself  piously. 

"Lannigan,  could  MacDougal  igo  to  Stage 
Si.\  while  you  were  out  on  your  round,  and  you 
not  see  that  he  was  missing  from  the  gate?" 

"Sure,  and  he  could  ..."  started  the 
Irishman,  and  checked  himself.  "You're  nivver 
thinkin'  old  Mac  did  the  deed,  mister?" 

"It  appears  he  had  a  desire  to  see  Hardell 
dead  .  .  ." 

"  Saints  presairve  us.  .  .  ." 

"T  VISH  to  know  vat  made  you  tink  Lanni- 
-L  gan  heard  a  scream  ...  a  banshee  ..." 
inquired  Rosenthal. 

"Two  and  two  make  four,"  smiled  Smith. 
"The  woman  who  fledjhe  set  was  so  frightened 
she  left  her  finger  marks  in  blood  on  the  can\'as 

"More  Ukely  than  not,  she  screamed!" 

"But  .  .  ."  and  Rosenthal  leaned  forward 
quickly,  and  Smith  was  surprised  at  the  evi- 
dence of  real  probing  into  the  matter  in  his 

"But  .  .  .  you  say  she  screamed  and  left 
blood  marks  at  the  same  time  .  .  .  veil,  Mr. 
Smith,  maybe  she  pricks  her  own  finger!  .  .  . 
Mr.  Seibert  tells  us  he  and  Hardell  are  not  on 
the  lot  at  the  time  Lannigan  tells  us  he  heard 

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the  banshee  .  .  .  who  you  tell  me  vas  the 
voman  who  dipped  her  hand  in  Hardell's  life 
blood!  If  ve  are  to  beheve  Seibert,  and 
MacDougal  and  Lannigan,  Hardell  vas  in 
Hollywood  at  the  time  you  make  out  he  vas 
on  my  lot  .  .  .  murdered!" 

"Bravo!"  applauded  the  detective.  "Keep 
this  up  and  we'll  want  you  on  our  force!" 
Then,  soberly,  "You've  hit  the  monkey 
wrench  in  the  machinery,  all  right!  There's 
a  hitch  somewhere.  Maybe  Lannigan's  clock 
was  an  hour  out  of  the  way.  We'll  have  to 
check  up.  Anyway,  there's  something  rotten 
in  Denmark  about  it!  Well,  we'll  talk  to 
MacDougal  .  .  .  that  daughter  of  his  now." 

"That  is  foolishness!  I  know  that  little 
girl.  She  is  vid  my  cousin  ofer  at  Killing 
Komedies!  She  is  vild,  yes,  but  she  is  not  a 
murderess!    Neffer  vill  I  belief  that!" 

"MacDougal,  then?" 

Rosenthal  shrugged. 

"Of  course  I  should  not  vant  to  think  that 
of  him,  either,  but  .  .  .  he  is  a  qveer  fellow  .  .  . 
qviet,  and  .  .  .  veil,  you  see  him  yourself!" 


WHILE  Clancy  is  getting  MacDougal 
over,  I'U  step  in  to  your  restaurant  and 
have  a  bite,"  said  Smith,  unfolding  his  long 
length  from  Abraham  Rosenthal's  all  too  com- 
fortable chair.  The  president  of  Superior 
Films  drew  a  sucking  breath  of  regret. 

"Tsk!  So!  You  haff  not  yet  had  your 
lunch!    Ve  vill  go  right  avay  .  .  ." 

"I  want  to  go  alone."  The  detective  could 
be  abruptly  truthful  at  times. 

"I  want  time  to  miU  over  this  testimony  .  .  . 
and  I  want  to  study  your  people.  .Also  .  .  . 
I  have  taken  a  lot  of  your  time  today,"  he 

Even  the  news  of  the  murder  could  not 
quite  quell  that  irrepressible  spirit  of  .  .  . 
Smith  stopped  a  moment  in  his  tracks  to 
analyze  it.  What  was  it?  On  every  hand  he 
caught  the  tag-end  of  a  bantering  remark  .  .  . 
the  last  chuckle  of  a  burst  of  laughter!  These 
people  about  him  seemed  to  be  playing  .  .  . 
always  playing  .  .  .  even  that  morning, 
when  the  director,  Bonet,  was  roaring  orders 
through  his  megaphone,  and  there  was  the 
apparent  nerve-tension  of  catching  a  mob  at 
the  psychological  moment  ...  of  gathering 
and  holding  the  many  ends  that  went  to  make 
up  the  successful  photographing  of  the  scene 
by  three  variously  angled  cameras,  trained  on  a 
constantly  shifting  group  of  humanity  .  .  . 
taking  in  with  each  turn  the  action  of  indi- 
viduals and  stars  alike  (Smith  thought  of 
certain  "snapshots"  he  had  taken,  and  how 
everything  always  seemed  to  get  in  the  way 
and  to  worry  him)  even  in  that  period,  when 
certainly  those  picture  folk  were  working, 
and  working  hard  ...  he  had  felt  the  under- 
current of,  as  Rosenthal  had  said,  "kidding." 
Earher  in  the  afternoon,  wandering  about  the 
lot  by  himself,  after  his  study  of  Stage  Six,  and 
its  grim  figure,  he  had  peeked  into  a  set  where 
an  old  man  sat  thumbing  over  some  faded 
yellow  letters,  and  weeping  weakly  all  over  his 
long  beard. 

T  TP  until  the  instant  the  camera  started, 
^— '-this  old  man  was  jazzing  his  body  in  his 
chair  .  .  .  snapping  his  thumbs,  anci  enter- 
taining the  rest  of  the  company  with  a  running 
fire  of  ludicrous  comment ! 

Then,  the  "snapping"  into  the  scene  .  .  . 
the  tears,  welling  up  as  easily  as  though  from 
a  faucet  turned  on  .  .  .  the  "Cut"  shouted 
by  the  director,  and  the  old  man  jumping  up 
with  alacrity, 

"Me  for  a  coke,  fellows!  Never  too  old  to 
drink.  Gimme  a  bottle."  Then  slapping  his 
own  wrist  as  he  spilled  a  drop  on  the  long  false 

"Naughty!    Naughty!    Papa  spank!" 

It  wasn't  what  they  said,  so  much  as  the 
way  they  said  it.  The  laughter  .  .  .  bubbling 
all  the  time  underneath  .  .  .  the  happy-go- 
lucky,  comradely  joy  of  life,  effervescing  be- 
neath  the   surface!     The   doing  seriously  of 

serious  scenes,  but  the  never  taking  seriously, 
of  themselves!  Smith  felt  the  charm  of  it. 
He  had  a  moment's  wistful  hunger  to  be  one  of 
them  ...  to  love  life,  and  live  it  to  the  full, 
as  these  people  loved  it,  and  hved  it! 

Like  the  little  girl  from  Kansas  he  thought 
longingly  of  the  beauty  that  money  could  buy, 
and  how  these  people  were  surrounded  with  it 
on  every  side.  Even  the  most  ordinary  and 
lowly  object  of  furnishing,  was  made  a  work 
of  art!  He  wanted  to  climb  on  the  band 
wagon  and  join  the  gay  throng  ...  to  go 
lau.ghing  and  shouting  merrily  down  the  road 
of  life!  He  thought  of  these  people  as  holding 
their  lips  to  a  brimming  cup  ...  a  cup  in 
which  all  the  desires  that  life  brought  to  one, 
were  jammed  and  packed! 

nPHEN  he  went  into  the  commissary,  and  met 
■'-  his  first  contact  with  the  caste  system  of  the 
studios.  Rosenthal  had  told  him  to  take  a 
table  at  the  end  of  the  room  farthest  from  the 
door.  He  had  wondered  why.  Now  he  caught 
it  all  in  a  glance.  Near  the  door  were  e.xtras, 
eating  belated  luncheons  like  his  own  ...  or 
having  tea,  or  drinks.  Then  came  people  who 
seemed  to  him  to  have  more  importance.  Up 
near  where  Rosenthal  had  told  him  to  sit  he 
recognized  two  famous  motion  picture  stars. 
He  laughed  to  himself  as  he  sat  down.  There 
were  no  marked  divisions  of  the  room,  but 
the  divisions  were  there!  He  felt  that  it  would 
surely  follow  out  that  way  throughout  the 
industry.  The  extras  to  the  extras,  and  the 
stars  to  the  stars.  He  realized  what  a  hard 
won  fight  it  must  be  to  reach  the  brimming 
cup!  As  he  was  finishing  his  coffee,  a  waitress 
came  to  him. 

"You  are  Mr.  Smith?  Mr.  Rosenthal  said 
you  would  be  at  his  table.  You  are  wanted  on 
the  phone." 

"  That  you,  chief?    I've  got  the  guy." 
"Has  he  learned  what  has  happened?" 
"Nope.     He  was  reading  his  paper  in  his 
kitchen,  but  you  know  there  wasn't  nothin' 

"Well,  don't  tell  him.  I'm  coming  right 

T^HE  difference  in  Clancy's  attitude  towards 
■^  this  man,  compared  to  that  he  used  towards 
Lannigan,  was  in  itself  sufficient  evidence  of 
the  difference  in  the  two  witnesses.  As  tall  as 
Smith  and  with  an  upright,  mihtary  bearing 
not  so  different  from  Seibert's.  Level,  blue 
eyes,  staring  out  calmly,  almost  bleakly,  from 
under  beetling,  bushy  sandy  eyebrows.  A 
massive  face,  without  rounded  contours.  High 
cheek  bones,  a  long  straight  nose,  above  full 
but  firmly  moulded  lips,  the  whole  dominated 
by  a  strong,  square  jaw. 

A  sandy  mustache  cUpped  squarely,  and 
adding  to  the  grim  look  of  efficiency  which  gave 
out  from  him. 

"A  hard  man  .  .  .  and  a  set  one,"  said 
Smith  to  himself.  Then  he  rose  and  held  out 
his  hand. 

"  Royal  Northwest  Mounted  Police,  I  under- 
stand, MacDougal?" 

"Eight  years,  sir."  Then  to  Rosenthal, 
"You  wished  to  see  me?" 

"Captain  Smith  vishes  to  ask  you  some 
qvestions,"  answered  the  president  of  Superior 
Films,  waving  him  to  a  chair  with  his  fat  hand, 
in  which  one  of  his  choice  cigars  smoked 
fragrantly.  Ignoring  Rosenthal's  frown  and 
out  thrust  lower  lip,  Smith  tendered  the  gate- 
man  a  cigar  from  the  open  box  on  the  desk, 
and  started  to  light  a  match  for  it.  But 
MacDougal  put  out  his  hand  in  refusal. 

"Thank  you.  I  smoke  a  pipe,"  he  said 

Smith  sensed  the  pride  in  the  tone.  The 
man  would  not  accept  one  of  the  president's 
cigars,  offered  by  another  than  himself!  It 
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"  there  was  a  murder  committed  on  this  lot  last 
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on  the  gateman.  He  saw  a  sudden  tightening 
of  the  other  man's  attitude.    Then, 

"Who  was  it?"  MacDougal  asked  quietly. 


"Harden?  He  left  the  lot  with  Seibert,  and 
he  did  not  come  back!" 

"  That's  what  I  wanted  to  know.  He  didn't 
come  back  you  say,  and  yet  ...  he  was 
found  murdered  this  morning  on  Stage  Six!" 
and  Smith  looked  searchingly  at  the  other. 
"  So  you  see,  he  must  have  come  back!" 

''"NTOT  through  the  gate,  Captain!"  asserted 

*-  ^  MacDougal  quickly. 

"  Could  he  have  gotten  in  any  other  way?" 

"I  do  not  see  how  he  could!" 

Smith  pondered  this,  and  then  evidently 
thought  better  not  to  probe  farther.  Instead 
he  said, 

"Are  you  in  the  habit  of  going  across  with 
Lannigan  to  eat  lunch?" 

"Not  in  the  habit  of  it,  sir,  but  I  did  step 
across  last  night.  It  was  a  mean  night.  Cold 
and  foggy." 

"Hm  .  .  .  much  fog?" 

' '  Thick  as  pea  soup. " 

"^^'hen  you  went  across  .  .  .  did  you  lock 
the  gate?" 

"If  I  do  go  over,  I  usually  lock  the  gate. 
Last  night,  however,  we  had  people  on  the  lot, 
which  is  not  customary  so  late.  Thinking  they 
might  be  wanting  to  leave,  I  left  the  little  door 

"  What  people  were  on  the  lot?" 

"Miss  Beaumont  and  Mr.  West." 

"No  one  else.     No  other  .  .  .  woman?" 

]MacDougal  met  his  eyes  squarely, 

"The  nurse  in  the  hospital.  That's  all,"  he 

"'Y'OUR  time  sheet  shows  that  Aliss  Beau- 

■'■  mont  did  not  leave  until  1:30  A.  M.,  and 
that  Billy  West  left  ten  minutes  later,"  said 
Smith  glancing  at  the  record  which  had  been 
sent  over  from  the  Production  Office  earlier  in 
the  day. 

"  That  is  right.  Captain." 

"Then,  MacDougal,  you  did  not  see  them 
leave  while  you  were  in  the  lunch  room?" 

"No,  sir." 

"Were  you  sitting  with  your  back  to  the 
street,  depending  on  your  sixth  sense  to  make 
you  turn  when  anyone  approached  the  gate?" 

"Hardly,  sir!    The  counter  runs,  also,  along  , 
the  side.     By  sitting  on  the  end  seat,  I  can 
easily    keep    my    face    turned    towards    the 
boulevard.    I  did  not  take  my  eyes  off  the  gate 
for  the  short  time  Lannigan  and  I  were  there." 

"But  no  one  left  the  lot,  during  that  time?" 

"No,  sir." 

"  Then,  MacDougal,  if  you  did  not  see  an}'one 
leave,  how  can  you  be  sure  someone  did  not 
enter?  In  short,  you  do  not  know,  for  certain, 
whether  you  could  see  a  person  going  through 
the  gate,  from  that  distance,  in  that  fog  .  .  . 
do  you?" 

"Putting  it  that  way,  I  do  not,  sir,"  ad- 
mitted the  man  without  hedging. 

"Putting  it  that  way,  MacDougal,  we  have 
only  the  word  of  Seibert  that  he  drove  Hardell 
to  Hollywood  ...  as  yet.  What  was  to  pre- 
vent his  dropping  Hardell  a  short  distance 
from  the  studio,  and  Hardell  coming  back  .  .  . 
to  .  .  .  meet  your  daughter!"  said  the  detective 
significantly.  For  an  instant  the  Scotchman's 
face  took  on  a  hard  look.  He  opened  and  shut 
his  well-knit,  strong  hands,  on  his  knee.  When 
he  spoke,  how-ever,  his  voice  was  quiet  .  .  . 

"You've  no  right,  Captain,  to  bring  my 
daughter  into  this!  I  will  grant  you  this  much. 
Seibert  could  ha\'e  dropped  Hardell  a  short 
distance,  and  Hardell  might  have  slipped 
through  the  gate  when  I  was  across  the  street. 
Why  he  came  back  I  cannot  say!" 

The  detective  sat  for  a  moment  holding  the 
other's  eyes  with  his  own.  Failing  to  force 
the  Scotchman  to  evade  his  gaze,  he  said 

"MacDougal,  if  you  had  gone  over  to  Stage 
Six  on  your  return,  could  Lannigan  have  seen 

"Lannigan  went  immediately  to  the  stage 
himself,  to  see  about  a  light.  Then  he  went 
to  the  storeroom,  to  get  a  new  globe.  I  could 
have  gone  to  the  stage  and  entered  from  this 
end,  while  he  was  leaving  by  the  other,  or 
walking  away  from  the  stage  at  the  other  end, 
with  his  back  to  me.  It  would  have  been  easy," 
said  MacDougal,  unhesitatingly. 

"I  thought  so.  .  .  .  MacDougal,  are  those 
the  shoes  you  wore  last  night?" 

"No.  I  have  to  be  on  my  feet,  as  you 
know,  and  I  wear  rubber  heels  when  on  duty." 

A  NOISE  came  from  Rosenthal,  and  Smith 
■''■shot  him  a  warning  glance  for  silence. 

"MacDougal,  a  man  wearing  rubber  heeled 
shoes  stood  at  the  side  of  the  dead  body  of 
Hardell,  stepped  over  it,  and  walked  across 
the  stage !    He  left  a  trail  of  bloody  footprints ! ' ' 

An  inscrutable  look  came  into  the  ex- 
redcoat's  face. 

"That  could  be  a  clue  ...  or  a  plant  ..." 
he  said  quickly. 

"Correct.  Before  we  assume  it  to  be  a 
plant,  we  will  assume  it  to  be  a  clue.  I  shall 
have  to  see  the  shoes  you  wore  last  night, 


"Why  did  you  refuse  to  accompany  Lanni- 
gan on  a  search  of  the  lot  to  investigate  the 
figures  he  saw?" 

MacDougal  smiled  with  a  certain  scorn. 

"You  do  not  know  Lannigan  like  I  do. 
However,  I  did  not  refuse  to  accompany  him. 
He  did  not  ask  me.  If  I  humored  all  his 
hallucinations,  I'd  spend  my  time  touring  the 

"Hm.  .  . .  Y'ou  accounted  for  one  of  the  figures 
as  being  West.  You  did  not  explain  the  other 
two.  MacDougal,  I  believe  that  the  figure 
Lannigan  saw  following  the  scream  of  'the 
banshee '  was  your  daughter!" 

"My  daughter  was  not  on  the  lot!"  came  the 
retort,  cold  and  crisp. 

"You  did  not  mark  herin,  no!"  .  .  .  agreed 
Smith  significantly. 

"Do  you  think,  sir,  that  I  would  abet  my 
daughter  in  meeting  a  man  like  Hardell?  Do 
you  think  I  would  admit  her  to  the  lot,  and  try 
to  conceal  it?  I  have  forbidden  her  the  lot 
after  dark!" 

MacDougal 's  eyes  held  dignity  and  pain. 
Smith  sensed  the  depth  of  his  love  for  this 
,  wayward  girl. 

"I  think  that  there  are  angles  of  this  case 
which,  so  far,  are  baffling.  .  ."  returned  Smith 

"T  APPRECIATE  your  position.  Captain," 
•*■  said  the  gatemen  quietly. 

"Then  you  appreciate  the  fact  that,  regard- 
less of  your  feelings,  I  must  get  at  the  bottom 
of  this!"  snapped  Smith.  "Where  was  your 
daughter  last  night!    Do  you  know?" 

After  a  moment's  hesitation,  MacDougal 

"I  do  not  know." 

"Where  was  she  when  you  returned  home 
this  morning?" 

"She  sometimes  has  to  be  on  the  lot  .  .  . 
where  she  works.  Killing  Komedies  .  .  .  early. 
She  had  gone." 

"Do  you  know  that  she  had  gone  to  KiDing 

"I  have  no  reason  to  think  otherwise." 

"We  wiU  check  that  up  right  now,"  re- 
turned the  detective,  looking  at  Rosenthal. 

"I  vill  half  my  secretary  find  out,"  said  the 

When  Smith  again  looked  at  MacDougal 
the  man's  face  had  whitened  about  the  mouth. 

"You  have  Miss  Beaumont  marked  out  at 
1:30  A.  M.  and  West  ten  minutes  later.  What 
reason  can  you  give  for  them  to  be  on  the  lot 
so  late?" 

"Miss  Beaumont  came  out  to  read  a  new 
script,  which  she  had  promised  to  have  fmished 
by  today.  I  expect  she  was  reading  it.  There 
was  a  light  in  her  room.  I  cannot  account  for 
West  remaining  so  late.  He  came  to  get  his 
script  book  which  he  had  left  on  the  set.  He 
was  forced  to  wait  until  Seibert  finished,  as 

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Seibert  sometimes  allows  no  one  on  the  set 
.  .  .  not  even  his  assistant.  Why  he  re- 
mained after  that  I  cannot  tell  you." 

"Did  you  notice  anything  unusual  in  the 
manner  of  either  one  of  them,  when  leavinR?" 

"Miss  Beaumont  is  very  often  in  a  state  of 
excitement.  That  is  her  nature.  She  be- 
comes enthusiastic  over  things  and  is  friendly 
to  everyone.  She  seemed  nervous  .  .  .  and 
.  .  .  what  we  might  say,  'flighty'  .  .  .  late 
last  night.  Whether  it  was  anything  unusual, 
or  just  the  nervous  reaction  from  reading  a 
highly  dramatic  story,  so  late  at  night,  I 
cannot  say.    She  feels  her  roles  intensely." 

Smith  realized  that  MacDougal  was  a  keen 
observer  of  human  nature,  and  also  an  intelli- 
gent one. 
,  "How  about  West?" 

"Nothing  unusual,  beyond  the  fact  that  he 
looked  a  bit  hollow-eyed.  That  is  customary 
after  a  long  grind  with  Seibert,  however!" 

"Are  you  sure?" 

"The  position  of  assistant  director  is  that  of 
a  buffer  between  the  production  office  and  the 
director.  He  is  between  .  .  the  devil  and  the 
deep  blue  sea,  or,  to  be  more  specific,  between 
the  efficiency  of  the  production  office,  which 
balks  at  recognizing  temperament,  and  the 
artistic  abandon  of  the  director,  who  cannot 
comprehend  the  position  of  the  production 
office!  With  a  man  such  as  Seibert,  the 
assistant's  job  is  a  doubly  nerve-racking  one." 

"Thanks,"  said  Smith. 

He  sat  a  moment,  looking  down  at  the  little 
red  book  on  his  knee.    Then  he  said: 

"  >  ^AcDOUGAL,    you    cannot    swear    that 
■i '••-Miss  Beaumont  was  in  her  room  all  the 

time  her  light  was  on?  You  cannot  swear  that 

Lannigan  did  not  see  her  running  down  the 

corridor,    and   the   stairs,    towards   Hardell's 


"No,  sir.    I  cannot  swear  that." 

"You  cannot  swear  that  Billy  West  was  in 

his  office,  as  you  suppose,  during  all  the  time  he 

was  on  the  lot?" 
"No,  sir.    I  cannot  swear  to  that." 
"You  cannot  swear  that  Hardell  could  not 

have  re-entered  while  you  were  at  lunch?" 
"  No,  sir.    I  cannot  swear  to  that." 
"Lannigan  cannot  swear  that  you  did  not 

leave  your  post  after  returning  to  the  lot,  and 

go  over  to  Stage  Si.x?" 

"  Unless  he  made  it  a  point  of  watching  me, 

which  I  am  sure  he  did  not,  I  cannot  swear  to 


"Why  are  you  sure  he  did  not?"  was  the 

quick  follow-up  from  Smith  at  this. 

"I  modify  that.    I  assume  that  he  did  not." 
"Where  were  you  when  a  scream  came  from 

the  direction  of  Stage  Six?" 
"  I  did  not  hear  such  a  scream." 
At  this  point  Rosenthal's  secretary  knocked 

at  the  door,  and  was  bidden  to  enter. 

"Beth  MacDougal  left  Killing  Komedies 
yesterday  afternoon,  because  she  was  feeling 
ill,  and  did  not  go  to  work  this  morning,"  she 


TJILLY  WEST  swallowed  the  last  scraps  of 
■'-'that  part  of  the  note  he  had  been  able  to 
conceal  when  he  wrestled  for  its  possession 
with  Clancy.  The  silhouette  of  Yvonne 
against  the  light,  laying  it  on  Hardell's  dress- 
ing table,  had  leaped  into  his  mind  the  minute 
he  had  come  on  the  lot,  and  the  office  boy, 
had  .  .  .  but  we  are  getting  ahead  of  our  scene. 

Now  he  smiled  wryly  to  himself,  and  thought 
that  he  would  never  again  deride  the  foolish 
actions  of  people  under  stress  of  emotion,  for  no 
sooner  had  he  laboriously  gotten  down  the 
last  morsel  when  he  realized  that  so  long  as  the 
police  had  a  fraction  of  the  mauve  note  paper, 
even  minus  the  signature  and  monogram,  they 
would  trace  it  down!  Had  anyone  told  him 
j'esterday  he  would  be  doing  such  a  stupid 
thing,  he  would  have  snorted  contemptuously. 
"You're  cock-eyed  and  crazy!" 

He  wondered  angrily  if  he  had  completely 
lost  his  wits  over  this  thing.  It  made  him 
more  furious  at  himself  because  he  knew  this 
was  a  time  in  which  every  sense  he  possessed 
must  be  used  to  the  utmost. 

He  looked,  even  as  the  president  of  Superior 
Films  had  looked,  at  the  autographed  photo- 
graphs on  his  walls.  Yesterday  they  had  been 
pictured  faces  of  people  he  liked,  and  who  liked 
him!  Now  they  seemed  to  withdraw  from 
him,  and  became  a  part  of  another  existence 
.  .  .  his  past!  They  became  dream  people, 
in  a  dream  existence.  What  was  nightmarishly 
real  to  him  was  the  fact  that  he  was  sitting 
locked  in  his  own  office,  with  the  broad  back 
of  a  sergeant  of  pohce  patrolHng  his  window, 
and  the  suspicion  of  murder  darkening  his 
future.  Yet  not  a  twinge  of  regret  for  the  man 
lying  in  his  blood  out  on  Stage  Six  agitated 
him.    In  fact,  he  did  not  think  of  him  at  all. 

"LJIS  thoughts  were  milling  in  a  desperate 
-'-  -"-circle  about  himself  and  Yvonne.  Yvonne, 
her  grey  eyes,  swept  by  heavy  lashes,  looking 
at  him  pleadingly.  Her  quick,  pretty  little 
movements  re-visioning  themselves  in  his 
brain.  Her  small  pale  hands,  thrown  out  in  a 
gesture  of  appeal  .  .  .  and  .  .  .  her  dainty 
body  stiffening  furiously  as  she  stood  with  the 
telephone  in  her  hand,  talking  to  Hardell  in  her 
apartment  the  night  before!  What  had  hap- 
pened after  that?  He  remembered  the  night  as 
a  long  dwelling  in  Gethsemane.  He  had  been 
betrayed.  His  love  of  Yvonne  had  been 
betrayed  ...  by  Hardell.  He  knew  he  had 
been  in  a  condition  when  any  extreme  act 
might  have  been  possible.  He  knew  he  had 
even  thought  murder,  in  his  heart.  .  .  . 

It  can't  be  so  darned  much  fun,  after  all.  Here  are  Ralph  Graves, 
Wade  Boteler,  Gardner  James  and  Roscoe  Karns  marooned  on  the 
wing  of  a  wrecked  plane  while  Director  George  Hill  shoots  a  scene 
from  Ramon  Novarro's  "Gold  Braid."  Suppose  the  wing  forgets 
it's  expected  to  float? 

Are  YOUO 
Spiked  to  [ 
Your  Job  • 

Take  inventory  of  yourself.  Are  you 
getting  anywhere?  What  is  the  outlook 
for  your  future?  Don't  let  yourself  get 
stale  on  the  job.  There  are  thousands 
of  men  and  women  right  now  in  offices, 
factories,  or  working  at  trades  literally 
spiked  to  their  jobs. 

Succesa  is  iu>t  just  simply  a  matter  of  luck. 
There  is  a  real  reason  why  some  people  of  seem- 
ingly leas  ability  step  ahead  of  the  fellows  who 
really  know.  Whatever  you  have,  your  success 
depends  on  your  ability  to  put  over  your  ideas 
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Coming  as  something  comforting  was  the 
thought  of  the  office  boy,  who  had  found 
Hardell.  Because  he  must  keep  his  mind  busy 
or  go  crazy,  he  went  over  the  little  scene  as  it 
had  happened  that  morning. 

The  office  boy's  name  was  Jimmy,  as  is  the 
name  of  many  an  office  boy.  He  hated  Seibert 
and  he  worshipped  Billy  West. 

Billy  was  a  war  ace  and  had  killed  the 
enemy  from  the  air.  He  was  a  being  set  apart, 
even  in  a  world  knowing  the  common  after- 
math of  war. 

When  the  assistant  director  came  on  the 
Superior  Films  lot  the  morning  Hardell  was 
discovered  murdered,  he  had  seen  Jimmy 
hunched  strangely  in  a  chair  behind  the  rail 
which  divided  the  privileged  from  the  un- 
privileged in  Rosenthal's  outer  office. 

"What's  matter,  old  pal?" 

Jimmy  looked  up,  greenly,  at  the  hand  on 
his  shoulder. 

"Nothin'  ..." 

"You  look  sick.  Hospital  for  you,  kid,  and 
castor  oil!" 

"I'm  all  right.    Honest,  Billy!" 

"  Honest,  Jimmy?" 

HOW  could  he  lie  to  his  hero?  He  evaded 
the  frank  brown  eyes  looking  down  at  him, 
waiting  for  the  truth.  He  wriggled  uncom- 

"Jimmy,  have  you  been  smoking  again?" 

"No.  Honest  I  haven't,"  but  still  the  eva- 
sive eyes  that  could  not  meet  the  brown  ones. 
Silence.  Billy  did  not  beUeve  him.  Without 
another  word  he  was  turning  away.  Jimmy 
caught  at  his  arm.  .  .  . 

"I  .  .  .  it  isn't  my  fault,  Billy,  honest.  .  .  . 
I  do  feel  sick,  but  ...  I  promised  not  to  tell 
anyone.  .  .  " 

"Then  don't,"  briefly,  from  Billy.  There  was 
a  moment  in  wliich  Jimmy  pondered.  He'd 
given  his  word  of  honor  to  BUly  not  to  smoke 
until  he  was  eighteen  years  old.  He  had  not 
given  his  word  of  honor  to  Rosenthal.  At  the 
worst  Rosenthal  would  only  fire  him.  If  Billy 
thought  he'd  lied  to  him  .  .  .  he'd  lose  him 
for  a  friend.  He  couldn't  do  that.  He  gulped, 
and  cast  a  swift  look  at  the  door  of  Rosenthal's 
inner  ofiice.  He  clutched  Billy  somewhere 
about  the  middle. 

"  Hardell 's  murdered  on  Stage  Si.x.  I  .  .  . 
kicked  him!"  he  breathed  in  a  rush,  partly 
remembered  terror  at  that  gruesome  figure. 
He  felt  Billy's  body  go  taut  in  his  encirchng 
arms.  BiUy  did  not  speak.  He  looked  up  at 
his  face.    It  was  white. 

Then,  without  a  word,  and  with  a  wild  look 
in  those  frank  brown  eyes,  his  hero  put  him 
firmly  from  him,  and  strode  out  the  way  he  had 

Frantically  Jimmy's  vivid  young  imagina- 
tion, which  had  lapsed  into  coma  under  the 
startling  reality  of  what  he  had  seen,  leaped 
into  action.  With  the  sophistication  of  the 
modern  youngster  he  began  putting  two  and 
two  together,  Billy  and  Yvonne.  Yvonne  and 
Hardell.  It  made  four!  He  recoUed  from  the 
thought  of  Billy  having  so  brutally  killed  a 
man.  Then  he  remembered  war.  Of  course. 
Human  lives  were  nothing  to  an  ace  who  had 
snuffed  out  the  existence  of  countless  of  the 

.■\nd  then  Jimmy  Kstened  with  a  sickened 
heart  to  a  strange  sound  about  him.  It  was  the 
shattering  of  the  cymbals  of  the  Glory  of  War! 

ROSENTHAL'S  desk  phone  rang.  Captain 
of  Detectives  Smith  was  treated  to  a  family 
portrait  of  the  head  e.xecutive  of  Superior 

"Yes,  yes,  sure  it  is  me,  mama!  Vat? 
Didn't  I  have  Miss  Dunham  phone  you  I  vas 
busy,  mama?  Veil,  I  am  busy!  Now,  mama, 
vat  a  thing  to  say!  I  am  all  alone,  except 
for  .  .  .  "  and  Rosenthal  rolled  his  liquid 
brown  eyes  over  to  Smith,  and  hesitated.  His 
statement  was  an  unfortunate  one. 

There  was  quite  a  lengthy  return  from  the 
other  end  of  the  wire,  under  which  the  gen- 
erous body  of  the  head  executive  wriggled 
apologetically  for  Smith's  benefit.     \\'ith  one 

fat  hand  waving  in  the  air,  he  put  his  lips 
close  to  the  phone. 

"Now,  Izzie,  you  be  a  good  boy  and  go  to 
bed.  Papa  is  not  coming  home  yet  avile. 
Izzie,  I  tell  you  papa  is  busy!  Vill  you  please 
to  behaff  yourself?  AH  right  ...  all  right 
...  I  vill  get  it  tomorrow.  Now  go  to  bed 
right  avay,  and  don't  bother  your  mama!" 

When  he  had  hung  up  the  phone  he  turned 
to  Smith,  and  threw  out  his  hands  in  a  helpless 

"Everything  that  boy  vants!  He  thinks  his 
papa  is  made  of  money!"  A  complaint  with 
pride  in  it! 

"  ,  .  .  aren't  you?  ..."  drawled  Smith, 
with  a  smile. 

"I  am  made  of  vorry  right  now,"  returned 
Rosenthal  lugubriously,  adding,  "Veil,  if  \^ 
are  to  haff  our  dinner  and  get  through  vid  this 
mess  tonight,  ve  had  better  go  offer  to  the 
commissary  right  avay." 

"You  succeeded  in  locating  Miss  Beau- 

"Yes.  Her  maid  tells  my  secretary  she  has 
gone  to  Newport  Beach.  Right  avay  I  send 
a  message  to  her  friend's  yacht,  and  she  says 
she  vill  be  here  at  8:30.  Veil,  it  is  now  8 
o'clock.     Ve  got  to  hurry." 

"Hm.  ...  I  want  to  question  West  first. 
Can  we  have  a  sandmch  and  a  bottle  of  some- 
thing to  drink  sent  over?" 

"Sure  .  .  .  Iget  it  right  avay." 

Smith  thought  it  must  be  the  first  time 
Rosenthal's  shining  mahogany  desk  had  been 
utilized  as  a  lunch  counter,  and  then  was  a 
httle  surprised  to  see  the  door  open  and  a  table 
brought  in. 

The  sandwich  and  bottle  of  something  to 
drink  materiaUzed  into  fried  chicken  .  .  .  and 
a  bottle  of  something  very  choice  to  drink  .  .  . 
salad,  dessert  and  coffee. 

"Vat  you  think  about  MacDougal?"  asked 
Rosenthal,  looking  up  from  a  crisp  chicken 

"npHAT  he  is  the  darnedest  liar  in  the  bunch, 

•L  so  far,"  returned  Smith  promptly. 

"Tsk!"  exclaimed  Rosenthal,  his  eyes 

"Absolutely.  He  knows  something  he's  not 
telling.  The  minute  I  pin  that  murder  on  his 
daughter,  he's  going  to  throw  a  monkey  wrench 
into  the  machinery  that  wiU  make  it  impossible 
for  me  to  get  a  conviction." 

"Veil,  maybe  his  daughter  didn't  do  it!" 

"Maybe.  I  tell  you,  Rosenthal,  all  my  evi- 
dence is  up  in  the  air.  There  are  too  many 
clues  and  too  many  suspects!" 

"MacDougal  iss  not  a  murderer,"  returned 
the  other  thoughtfully. 

"No.  He's  only  a  killer!"  exclaimed  Smith 

"Vat  is  the  difference?" 

"Just  this.  I'm  not  a  murderer,  but  I'm  a 
killer  if  necessity  demands.  There  are  men 
who  would  step  around  a  rattlesnake,  and 
others  who  would  stop  to  kill  it.  If  Mac- 
Dougal kiUed  Hardell,  he  did  it  in  the  same 
way  he  would  kill  a  rattlesnake  ...  as 
deliberately.  He's  hard,  and  he's  clever.  He 
knows  just  how  he's  going  to  handle  this  thing, 
and  he's  got  it  all  planned  out.  His  training 
as  a  Redcoat  gives  him  the  advantage.  He 
knows  the  law!" 

The  detective  drained  his  glass  with  appre- 
ciative eyes  looking  over  its  rim.    Then  he  said: 

"If  you  don't  mind,  I'll  have  Clancy  bring 
West  in  now.  I  want  to  get  him  out  of  the  way 
before  Miss  Beaumont  comes." 

"Sure,  I  am  through,  myself,"  returned  the 
president  courteously.  He  rang  and  had  the 
table  removed.  The  two  men  leaned  back  and 
puffed  luxuriously. 

CAPTAIN  SMITH  saw  a  good  looking 
young  man,  in  whose  brown  eyes  lay  a 
baffled  look.  He  was  cornered,  and  he  knew 
it,  and  whUe  his  face  showed  a  certain  despera- 
tion ...  a  hunted  e-xpression  ...  it  also 
showed  a  hesitancy  at  making  a  break  for  free- 
dom. "There's  something  more  in  this 
than  he's  going  to  teU  me,"  Smith  told  himself, 

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and  immediately  took  on  an  entirely  different 
attitude  than  the  ones  in  which  he  had  ques- 
tioned Lannigan  and  MacDougal.  Rosenthal 
felt  a  mounting  resentment  and  surprise,  in 
which  he  regretted  his  quick  intimacy  with 
the  man.  It  was  all  he  could  do  to  keep  from 
throtving  him  out  of  his  office,  when  Smith 
shut  him  up  tersely  because  of  a  protest  at  the 
detective's  ruthless  methods  with  the  young 
assistant  director.  Perhaps,  if  Rosenthal  had 
not  been  honestly  fond  of  Billy  .  .  .  but  he 
was  .  .  . 

"  And  so,  you  say  you  only  went  to  the  set 
for  your  script?  Would  that  take  you  two 

"What  I  did  after  getting  my  script  is  my 
own  affair,  sir!" 

"You're  wrong,  my  boy!  Perhaps  you'll 
feel  more  like  explaining  your  actions  when 
you've  spent  a  night  in  jail!" 

"You  have  no  evidence  upon  which  to  give 
you  a  right  to  arrest  me!" 

"You  are  already  arrested!  Sergeant 
Clancy  arrested  you!  What  you  mean  is,  that 
you  have  given  me  no  evidence  upon  which  to 
release  you!" 

"  You  will  have  to  prove  what  you  say!" 

"I  e.xpect  to!  Where  was  Miss  Beaumont 
after  Seibert  and  Hardell  left  the  lot?" 

Billy  West  shut  his  lips. 

"All  right,  if  you  won't  answer  that,  perhaps 
you  will  this.  Who  was  the  woman  you  talked 
to  while  on  the  set  .  .  .  after  Seibert  had  left?" 

"T  DID  not  talk  to  any  woman!" 

-L  "I  found  a  woman's  finger  marks  ...  in 
blood  ...  on  the  canvas  door!"  snapped  Smith 

Billy  started  perceptibly,  and  Smith  could 
see  he  was  holding  his  breath  in  a  manner  that 
told  the  detective  his  heart  had  leaped  .  .  . 

"When  we  match  up  those  prints  with  the 
ones  on  the  note  you  so  obligingly  tried  to 
secret  .  .  .  written  by  Miss  Beaumont  .  .  .  we 
will  know  the  identity  of  the  woman  who  made 
those  prints,"  he  stated  with  finality  in  his 
voice,  as  though  it  were  already  a  settled 
question,  and  adding,  as  if  by  an  afterthought, 
"Miss  Beaumont  was  the  only  woman  who 
came  on  the  lot  last  night,  according  to  the 
gateman's  testimony  and  time  sheet!" 

BiUy  West  steadied  himself  against  a  sud- 
den whirling  of  things  around  him.  His  already 
haggard  young  face  grew  more  so.  Smith  pur- 
sued his  advantage. 

"Miss  Beaumont  .  .  .  your  sweetheart  .  .  .  has 
all  but  confessed  to  the  deed  in  her  letter.  Did 
you  have  time  to  read  it? 

"No.  Just  saw  her  name  and  handwriting 
and  thought  you'd  better  get  it  out  of  the  way, 
eh?  Well  .  .  .  perhaps,  if  you  had  read  it,  you 
would  know  .  .  ." 

"Stop!  I'll  make  a  clean  breast  of  it.  I  did 

Smith  relaxed  back  in  his  chair,  a  slight  smile 
of  satisfaction  on  his  face.    Rosenthal  groaned. 

"Mine  Gott,  Billy!  Vydidyou!  Vy  did  you! 
The  dirty  low-lifer  .  .  .  and  you  should  ruin 
yourself  for  him!" 

"Don't  worry,  Mr.  Rosenthal  ...  it  doesn't 
matter  .  .  .  it's  all  right  ..."  and  the  pale  faced 
young  man  smiled  bitterly. 

""DILLEE!  Why  haveyouthehandcuffson?" 
■'-'  Every  man  in  the  room  turned  to  look  at 
her.  She  stood  leaning  against  the  door,  her 
grey,  dusky-lashed  eyes,  wide  with  terror,  her 
sweet  red  mouth  quivering.  Rosenthal  w-as 
immediately  at  her  side,  with  one  huge,  com- 
forting arm  about  her. 

"Shu!  Shu!  Yvonne  .  .  ."  he  was  saying, 
patting  her  soothingly  .  .  .  and  yet  finding  no 
words  with  which  to  lie  to  her.  She  put  him 
gently  but  firmly  from  her. 

"I'm  aU  right,  Rosey  ...  I  must  know  the 
truth!  Billee!  Talk  to  me!  I  have  heard  when 
I  come  on  the  lot  that  D wight  is  murdered! 
Tell  me!  You  .  .  .  didn't  .  .  ."  she  stopped, 
and  her  great  eyes,  now  tear-fiUed,  questioned 

"He  says  he  did,  Miss  Beaumont,"  said 
Smith  quietly.  The  girl  wheeled  on  him,  her 
tremulous  grief  all  consumed  in  the  instant 
flash  of  her  temper. 

"Says  he  did!  And  you  ...  a  detective  .  .  . 
you  believe  him!  You  put  on  the  handcuffs 
just  for  that!  Bah!  That  is  .American  .  .  . 
stupeed!    In  Paris  ..  ." 

"I  am  aware  that  in  Paris  you  have  some 
master  criminologists,"  interrupted  Smith 
smoothly,  "but  even  in  your  native  city,  I 
imagine  a  confession  is  given  some  credence 
until  proved  untrue!" 

"Ah  .  .  .  you  agree  it  must  be  proved!  I  ask 
you,  what  proof  have  you  now  .  .  .  that  Billee 
did  this  so  terrible  thing  .  .  .  what  proof  be- 
side his  silly  word?" 

"We  arrested  him  because  he  was  found  in 
HardeU's  room  .  .  .  taking  a  note  from  his 
dressing  table  ...  a  note,  written  by  you!" 

She  laughed  scornfully. 

"And  because  of  that,  you  try  to  make  him 
theenk  I  did  it!  Then,  natural  ...  he  tells  you 
he  did  it  himself!  Is  it  not  what  any  man 
would  do,  Jl'sieur?  I  ask  you?  And  you 
believe  him?  Non!  He  did  not!  Billee, 
foolish  one,  tell  him  the  truth!" 

"Yvonne.  .  . ."  He  looked  up  miserably,and 
stopped.  What  could  he  say?  There  was 
nothing  to  say.    He  could  not  tell  the  truth! 

"Veree  well!  I  tell  it  myself,  then!  It  was 
I  ...  I,  il'sieur,  who  came  out  here  last 
night  to  meet  Mistair  Hardell!  Because  he 
have  some  letters  of  mine.  .  .  ." 


The  Stars  That  Never  Were 

[  CONTIXliED  FROM  PAGE  45  ] 

his  way  over  to  the  set.  .\nA  engaged  in  aim- 
less converse  with  some  of  the  younger  China- 
men who  were  also  extras.  The  talk,  though 
unintelligible  to  the  occidental  listener,  had  to 
do  evidently  with  the  star.  For  fingers  were 
pointed  in  the  direction  of  the  star's  dressing 
room,  and  heads  were  shaken. 

The  blonde  girl — who  played  opposite  the 
star — was  watching,  from  the  sidelines.  Al- 
though her  part  in  the  picture — even  to  the 
last  soft  focus  closeups,  was  quite  done.  She 
had  never  before  known  the  Oriental  star — she 
had  been  chosen,  solely,  for  her  silvery  beauty 
which  contrasted  so  desperately  with  his  dark- 
ness. .And,  whether  it  was  the  newness  of  the 
type  to  her,  or  the  man's  very  real  fascination, 
she  was  quite  evidently  captured  by  his  charm. 
And  so  they  had  lunched  together,  often,  dur- 
ing the  picture's  making.    And  she  had  ap- 

peared in  the  star's  scarlet  roadster,  more  than 
once.  And  folk  said — But  you  know  what 
rumor  is! 

Anyway — the  blonde  girl  was  watching.  .And, 
as  the  extras  gesticulated  and  pointed  and 
asked  and  answered  questions,  she  turned  to 
the  director. 

"A  kind  of  a  weird  lot,  aren't  they?"  she 
questioned,  idly. 

The  director  answered.  His  answer  was  not 
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rare  in  your  studio — and  which  shocked  the 

"If  you  mean  Wing — "  said  the  girl,  hotly 
(for  folk  laughed  and  said  that  the  Oriental 


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Star  was  named  atter  a  collar!)  "why,  you  can 
shut  up.    See?    He's  different  from  the  rest." 

The  director  spoke  sharply.  For  he  liked 
the  blonde  girl  and  her  blush,  to  him,  had  been 
a  danger  signal! 

"Yeah — "  he  answered,  "I  mean  Wing. 
And  he's  not  different  from  the  rest.  Not  so 
as  you  can  notice  it.  He's  a  darn  good  actor — 
I'll  grant  you  that!  And  he's  got  b.o.  appeal — 
and  he  makes  money  for  the  old  man.  But 
he's  a  best  bet  for  white  women  to  like  when 
he's  on  the  screen.     Get  me?     On  the  screen. 

celebrate  for  a  whole  week,  don't  you?  And 
it  costs  just — " 

The  star  threw  out  his  slim,  olive  tinted 
hands.    In  a  gesture  of  finality. 

"Always,  in  this  profession,"  he  said,  "there 
are  two  spectres.  Money — and  time.  We,  of 
the  Orient,  are  leisurely.  We  can  afford  to 
lose  a  week,  if  we  wish,  to  make  holiday. 
But  I" — he  nodded  to  the  director — "can 
see  your  point.  And  I  am  ready.  For  there 
may  be  some  re-takes — " 

Only — there  were  no  re-takes! 

Because,  off  it,  he's  yellow — as  yellow  as  that 

old  geezer  over  there!"    He  pointed,  with  an      A  S  he  watched  the  star  step  into  character — ■ 

anfri-tr   nr.pfror»Vi/^n^      inwctrA    ihp.    f\\t\     Pliin^man         -*     ^-aS     he     Watchcd     the     achlug     drOOp     Of     thC 

angry  megaphone,  toward  the  old  Chinaman 
who — blear  eyed  and  brooding — had  moved 
away  from  the  other  extras.     And — 

"He'll  look  like  that,  himself,  some  day — 
Wing  will!"  added  the  director. 

BUT  the  blonde  girl  did  not  hear  him.  For 
the  star,  in  the  ragged  garments  of  an  alien 
race,  had  come  out  of  his  dressing  room.  And 
was  walking  toward  her.    And — 

"It  was — ■"  he  said —  "so  kind  of  you  to 
come.  This  last  scene — you  will  inspire  it!" 
And  then,  so  low  that  the  director  could  only 
sense  it,  "My  dear!" 

The  blonde  girl  was  blushing  again.  She 
didn't  speak.  But  she  extended  her  hand. 
And  the  star  took  it  in  his  own.  Not  took  it — 
seized  it.  And  kissed  it  suddenly  and  openly, 
palm  up,  with  a  curious  hunger.  A  hunger 
that  the  director  turned  from  suddenly — and 
that  the  extras  watched  with  blank  faces  and 
curiously  alive  eyes. 

All  except  the  old  Chinaman  who  was 
hunched  up  against  a  plaster  of  Paris  column — 
and  who  might  have  been  dozing,  so  still  he 

The  director  turned  away  from  what  ap- 
peared to  be  a  real  love  scene,  in  the  making. 
And  beckoned  to  the  script  girl.  And  then, 
all  at  once,  he  was  talking  to  the  light  boys, 
the  property  men.  And  then — quite  as  if  he 
was  anxious  to  be  through  with  it — he  had 
called  to  the  waiting  group  of  Chinamen. 

"Just  act  natural,"  he  explained  to  them 
briefly,  "act  like  you  were  walking  down  one 
of  your  own  streets.  Going  about  your  own 
Ijusiness.  Forget  that  Wing's  the  star — he's 
just  one  of  you  fellows.  You're  not  curious 
about  him.  ...  He  walks  down  the  street, 
among  you,  and  goes  into  that  door — "  he 
pointed  to  the  gaudily  painted  joss  house. 
"And  then— that's  all!" 

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star's  shoulders,  and  the  weary  slouch  that 
grew  into  his  legs — the  director  was  forced  to 
admit  the  man's  artistry.  Here  he  had  no 
necessity  of  telling  an  actor  what  to  do.  This 
star  was,  always,  a  part  of  his  part.  He  did 
not  act  it — he  lived  it. 

"I  really,"  said  the  blonde  leading  lady,  as 
she  saw  him  walking  toward  the  built  in  street, 
"I  really  feel  as  if  he  is  going  out  of  my  life. 
Actually — not  as  a  part  of  the  script!" 

The  director  thrust  savage  hands  into  his 
pockets.  It  wasn't  that  he  especially  hked 
the  blonde  leading  lady — but  she  was  so 

"I  wish  that  he  was,"  said  the  director, 
"going  out  of  it!"  And  then,  grudgingly — 
"But  the  boy  does  know  his  celluloid.  He 
can — act!" 

Yes,  he  could  act!  There  was  no  doubt  about 
that.  As  the  star  walked  down  the  street  there 
was  an  air  of  suspense  about  the  whole  manner 
of  his  walking.  It  even,  in  some  intangible 
way,  became  a  part  of  the  street,  itself.  It 
even  ate  its  way  into  the  souls  of  the  extras. 
For,  though  they  noticed  the  star  not  at  all, 
one  felt  that  they  were  aware  of  him.  As  he 
jostled  his  way  through  the  thickest  of  the 
throng — as  he  walked,  apparently  lost  in 
thought,  beneath  a  low  hanging  awning — the 
director  found  himself  actually  believing  the 
continuity  that  was  being  followed.  Some- 
thing that  your  directors  aren't,  regrettably, 
able  to  do.  Not  very  often!  As  the  star 
paused  for  a  second,  on  a  corner,  the  leading 
lady's  slim  white  fingers  pressed  close  together. 
There  was  something  so  utterly  lost  in  the 
droop  of  his  shoulders — something  so  subtly  • 
heart-breaking  in  the  very  attitude  of  his ' 
hanging,  empty  hands. 

"I  feel,"  she  whispered,  "as  if  I'd  like  to  call 
him  back!" 
The  Chinamen  stood  about.    Almost  statue- 
like in  their  stillness.    All  !except  the!  one  old     HPHE  director — coming  out  of  a  dream,  al- 
man  who  had  seemed  asleep.     With  an  odd      J-  most — snapped  his  answer. 

agility  he  had  crossed  the  set.  And  had 
settled  down  against  the  joss  house  door.  In 
a  dozing,  forgetful-of-self  attitude.  It  was 
toward  him  that  the  director  gestured. 

"See  that,"  he  said,  to  his  best  camera  man. 
"Absolutely  natural.  Nothing  studied  about 
that  pose!  The  old  fellow's  the  keynote  of 
age — and  futility — and  the  whole  race.  Get 
him — a  lot  of  him!" 

The  camera  man  trained  his  lenses  on  the 
slumped,  careless  figure.  And  the  director 
turned  toward  the  star.  Trying,  quite  avidly, 
to  be  affable. 

"I  think,"  he  began,  "that  we'd  better — " 

But  the  star  did  not  seem  to  hear. 

"TT'S  amazing  that  so  many  of  them  turned 
-'•up,"  he  was  saying,  "for  tomorrow — it  will 
be  the  beginning  of  our  New  Year.  And,  the 
day  before  the  Chinese  New  Year,  your  average 
Chinaman  is  very  busy.  It  is  our  custom,  you 
know,  to  at  this  time  clean  the  slate  of  all  old 
business.  To  pay  all  debts  on  this  day.  We — 
as  a  nation — begin  the  New  Year,  always, 
clean — " 

The  silvery  blonde  head  of  the  leading  lady 
was  bent.  She  murmured  something  unin- 

And  again  the  director  spoke.  Not  quite  so 
affably  this  time. 

"If  that's  the  case,"  he  told  his  star,  "per- 
haps we'd  better  get  on  the  job.  We  can't 
hold   up   production   for   a   week — you   folks 

"You  talk,"  he  said,  "as  if  you're  crazy 
about  him.  Well,  it's  not  healthy  for  a  girl 
hke  you  to  get  crazy  about  a  fellow  like  him. 
Even  if  he  wasn't  Chinese — which  is  barrier 
enough — there's  nobody  in  Hollywood  that 
knows  a  thing  about  him.  He  may  have  a 
wife  and  seven  yellow  kids  down  in  San 
Francisco.     He  may — " 

But  the  blonde  star  was  speaking. 

"If  I  am  crazy  about  him,"  she  said  slowly, 
"it's  my  own  business.  Any  way — lay  off 
him  now.  Watch  him,  and  learn  something 
about  your  own  business!" 

For  the  Oriental  star  had  come  to  the  final 
moment.  To  the  last  episode  of  all.  He  had 
reached  the  joss  house  door — the  door  of  the 
place  of  worship  to  which  his  fathers  had  come, 
before  him! 

You  who  saw  "Other  Gods."  Didn't  you 
sit  close  to  the  edge  of  your  chair,  during  that 
last  brief  moment?  In  which  the  star  tried  to 
straighten  his  drooping  shoulders — and  failed? 
In  which  he  gave  one  brief  look  over  his 
shoulder,  a  painfully  futile  glance  into  a  lost 
yesterday?  Didn't  you  sigh  as  he  stepped  past 
the  old  Chinaman,  into  the  shadows  that 
shrouded  the  joss  house  doorway? 

The  blonde  star,  watching  from  just  off  the 
set — she  sighed.  And  the  director's  face  had 
lost  its  displeasure  of  a  brief  moment  ago. 

"That,"  he  began.  And  then,  all  at  once, 
he  broke  his  sentence.     Sharply.     And — 

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"Hey,  you,"  he  called,  "what  th' — " 
For  the  aged  Chinaman,  he  whom  the  star 
had  passed  as  he  walked  through  the  door- 
way, had  come  to  his  feet.  He,  whom  the  star 
had  never  deigned  to  notice,  had  whipped  a 
knife  from  his  ragged  jacket — a  knife  that 
flashed  in  the  sunlight.  And  he,  too,  his  age 
lost  in  an  expression  of  almost  ecstatic  eager- 
ness, had  stepped  quietly  through  the  shrouded 

THERE  wasn't  a  sound.  That,  perhaps, 
was  why  the  leading  lady  went  running 
across  the  set.  Why  the  e.xtras  were  suddenly 
scattering.  Why  the  director  pushed,  first, 
through  the  doorway.  Somehow  he  wasn't 
surprised  at  what  he  saw. 

"Keep  the  girl  out  of  here,"  he  bellowed 
to  the  studio,  at  large.  And  then  he  bent  over 
the  still  figure  upon  the  dusty  floor  of  the 
platform  which  supported  the  plaster  columns 
of  the  joss  house.  Bent  over,  and  straightened 
suddenly.  To  face  an  old  Chinaman  who 
stood,  knife  in  hand.  A  knife  that — for  a 
grim  reason — no  longer  caught  the  light. 

But  the  old  Chinaman  had  ceased  to  be  a 
drab,  futile  figure. 

There  was  an  odd  dignity  in  his  bearing — 
one  could,  in  imagination,  clothe  his  body  in 
the  silks  of  a  mandarin.  Rather  than  in  the 
rags  it  wore. 

The  director  didn't  speak.    He  only  stared. 

And  so,  simply  and  in  perfect  English,  the 
old  Chinaman  answered  an  unvoiced  question. 

"He  told  my  daughter,  just  a  week  ago, 
that  he  loved  the  white  woman" — said  the 
old  Chinaman,  calmly — "and  that  he  was 
through  with  lur.  I  did  not  know  him;  or 
of  her — friendship — with  him.  I  did  not  even 
know,  until  she  told  me,  yesterday,  that  he 
should  have  made  my  daugnter  his  wife.  But 
when  I  sent  a  message  to  him  he  tore  it. 
And  laughed  at  my  messenger.  .  .  ."  The  old 
Chinaman  touched  the  star's  body,  very 
gently,  with  the  toe  of  one  shabby  slipper. 
And  then — 

"Tomorrow  is  our  New  Year,"  he  said, 
"and  the  men  of  my  race  must  always  face 
that  New  Year  clean.  I  had — a  debt — to 


My  Life— So  Far 

1  CONTINUED  FROM  P.iCE  95  1 

had  a  party  with  Gaynor  and  me  for  honor 

And  then  I  made  "7th  Heaven"  with 
another  fine  person,  Frank  Borzage.  On  the 
crest  of  my  intense  delight  at  two  big  pictures 
I  made  a  comedy,  "Two  Girls  Wanted,"  and, 
while  I  was  laughing  away  my  vivacious 
scenes,  my  Jonesy  left  us;  my  mother  broke 
down  at  his  passing  and  was  whisked  away  to 
Charles  Farrell's  beach  by  Charlie  where,  for 
five  days  and  nights,  he  made  every  effort  to 
amuse  her  and  distract  her  mind  from  our 
great  loss. 

Jonesy  had  lived  to  see  the  glory  of  the  open- 
ing night  of  "7th  Heaven."  He  had  hved 
to  hear  the  crowds  hail  Janet  Gaynor  as  a  new 
star.  He  had  lived  to  see  a  dream  which  was 
almost  an  obsession  come  true.  He  had  sat 
by  my  side  in  the  darkened  theater,  with  Herb 
Moulton  at  my  left,  with  mother  and  Helen 
and  my  girl  chum  from  San  Francisco,  and  had 
heard  the  little  staccato  bursts  of  applause  as 
Frank  Borzage 's  picture  unreeled  on  the  screen. 
In  front  of  us  sat  Charles  Farrell  and  whenever 
a  particularly  spontaneous  burst  of  applause 
came  Charlie  would  reach  back  and  grab  my 
hand,  or  I  would  pummel  the  neck  of  his  dinner 

But  now  Jonesy  was  gone.  Mother  had  been 
in  the  hospital.  The  sudden  shock  of  Jonesy's 
death  had  been  bad  for  her  health. 

A  LL  about  me,  people  were  telling  me  how 
-'•■splendid  I  was  as  an  actress.  Women,  far 
more  e.xperienced  in  the  motion  picture  world 
than  I  was,  would  grasp  my  hand  and  tell  me, 
in  truth,  that  I  had  done  things  in  my  few 
pictures  that  they  had  longed  to  do.  .\i  this 
party  and  that,  my  praises  were  sung.  I  was 
getting  three  hundred  dollars  a  week.  Our 
expenses  were  mounting.  Doctor  bills  and 
those  of  the  hospital.  I  was  now  Janet  Gaynor, 
star,  not  a  httle  girl  who  could  slip  into  an  in- 
expensive gingham  dress  and  pass  unobserved. 
We  must  five  in  a  nicer  home.  The  one  on 
Selma  Avenue,  just  around  the  corner  from 
where  we  had  li\'ed  when  we  first  came  to 
Hollywood,  was  not  adequate. 

.'^U  about  me  people  were  telling  me  I  should 
demand  more  money.  I  will  admit  that  I  was 
influenced.  I  went  to  Mr.  Sheehan  and  told 
him  I  must  have  more  money.  I  told  him  I 
wanted  fifteen  hundred  dollars  a  week.  Others 
on  the  lot,  not  as  valuable,  I  thought,  were 
getting  as  much,  if  not  more.  He  told  me 
"no,"  not  yet.  That  "7th  Heaven"  was 
barely  released;  "Sunrise"  not  at  all.  That 
the  Fox  company  was  not  yet  realizing  on  the 

amount  of  money  they  had  e.xpended  on  me. 
That  they  would  make  money  and  share  it 
with  me,  later. 

But  bills  kept  coming  in.  Our  Jonesy  was 
gone.  We  were  again  three  \/omen  dependent 
on  each  other.  People  were  taking  sides  in  the 
thing.  Papers  were  coming  out  bludgeoning 
Mr.  Sheehan;  trying  to  force  the  Fox  people 
to  give  me  more  money.  Charles  Farrell,  who 
was  getting  one  hundred  and  fifty  a  week, 
struck  out  for  more.  We  were  making  "  Street 
Angel"  then.  I  think  it  was  the  saddest  pic- 
ture engagement  I  have  ever  had.  I  did  not 
want  Mr.  Sheehan  to  think  I  was  ungrateful 
to  him  and  to  the  Fox  company  for  what  they 
had  done  for  me.  I  knew  I  was  so  much  chattel 
on  which  they  had  placed  money,  but  I  also 
felt  that  I  was  worth  more  money  now,  not 

I  had  saved  nothing  from  my  previous 
salaries.    There  had  been  little  to  save. 

I  placed  the  whole  thing  in  the  hands  of  an 
attorney.  I  could  not  give  my  strength  to 
"  Street  Angel "  when  I  had  to  worry  about  my 
contractual  difficulties.  That  gave  rise  to 
more  talk. 

It  was  a  sad,  a  sickeningly  sad,  occurrence. 
I  never  want  it  to  occur  again. 

It  was  settled  finally;  amiably  and  to  my 
entire  satisfaction. 

My  contract  runs  for  five  years,  on  a  grad- 
uating scale  at  a  rate  that  is  exceedingly  good 
to  me. 

T  THINK  I  never  felt  so  happy  in  my  life  as 
-'-  when  I  signed  my  new  contract  with  Mr. 
Sheehan,  cried  a  bit,  and  assured  him  that  my 
loyalty  and  gratitude  was  his  and  had  been  his 
all  the  time. 

It  was  after  the  difficulties  had  cleared  that 
the  company  gave  me  my  trip  to  New  York, 
to  Philadelphia,  Chicago,  with  parties  at  Emil 
Fuchs'  studio,  at  the  Sherman  House.  Life 
Was,  and  is,  very  full. 

It  is  very  full  of  pleasant  pastimes  and  pleas- 
ant boys.  Herb  Moulton,  now  an  ex-fiance, 
still  a  sweet  and  darling  boy;  Charlie  Farrell, 
whom  I  adore  as  a  fine  friend;  Lydell  Peck  of 
San  Francisco,  whom  I  also  adore  as  a  fine 
friend.  Some  day,  it  might  be  any  day,  I 
would  like  to  marry. 

I  do  not  see  why  a  screen  career  should  ham- 
per one  from  being  an  excellent  wife.  I  might 
marry  an  actor.  I  might  marry  a  broker  or  a 

But  my  great  regret,  and  that  of  Gaynor's, 
is  that  Jonesy  cannot  be  there,  in  flesh,  to 
witness  the  wedding. 



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"ADORATION" — First  National. — From  the 
story  by  Lajos  Biro.  Adapted  by  Winifred  Dunn. 
Directed  by  Alexander  Korda.  The  cast:  Elena, 
Billle  Dove;  Serge,  Antonio  Moreno;  Muravjev,  Emile 
Chautard;  Ninelle,  Lucy  Doraine;  Ivan,  Nicholas 
Bela;  Vladimir,  Nicholas  Soussanin;  Baroness,  Wini- 
fred Bryson;  Baron,  Lucien  Prival. 

"A  MAN  OF  PEACE"— Warners.— Story  by 
Joseph  Jackson.  Directed  by  Bn-an  Foy.  Photog- 
raphy by  Ed.  B.  Dupar.  The  cast:  Jane,  Ann 
McKay;  Tom,  Hobart  Bosworth;  Trigger  Eye,  Charles 

the  story  by  Frank  Howard  Clark.  Continuity  by 
Frank  Howard  Clark.  Directed  by  Wallace  Fox. 
Photography  by  Virgil  Miller.  The  cast:  Jimmy 
Hobbs,  Bob  Steele;  Geo.  Hobbs,  Tom  Lingham;  Bill 
Wharton,  Jay  Morley;  Haywire,  Perry  Murdock;  Phil 
Dunning,  Lafe  McKee;  Alice  Dunning,  Thelma 

"AVALANCHE" — Paramount. — ^From  the  story 
by  Zane  Grey.  Adapted  by  J.  Walter  Ruben  and  Sam 
Mintz.  Directed  by  Otto  Brower.  The  cast:  Jack 
Dunton,  Jack  Holt;  Kitly  Mains,  Doris  Hill;  Grace 
Stillwell,  Baclanova;  Verde,  John  Darrow;  Mr.  Mains, 
Guy  Oliver;  Jack  Dunton^(al  12),  Richard  Winslow. 

"AVENGING  RIDER,  THE"— FBO.— From  the 
story  "  Dancing  Hoofs"  by  Adelc  Buffington.  Adapt- 
ed by  Frank  Howard  Clark.  Directed  by  Wallace 
Fox.  The  cast:  Tom  Larkin,  Tom  Tyler;  Sally 
Sheridan,  Florence  Allen;  Frankie  Sheridan,  Frankie 
Darro;  Bob  Gordon,  Al  Ferguson;  Sheriff,  Bob  Flem- 
ing; Dancing  Professor,  Arthur  Thalasso. 

"A  WOMAN  OF  AFFAIRS"— M.-G.-M.— From 
the  story  by  Michael  Arlen.  Continuity  by  Bess 
Meredyth.  Directed  by  Clarence  Brown.  The  cast: 
Diana,  Greta  Garbo;  Neville,  John  Gilbert;  Hugh, 
Lewis  Stone;  David,  John  Mack  Brown;  Geoffrey, 
Douglas  Fairbanks,  Jr.;  Sir  Montague,  Hobart  Bos- 
worth; Conslance,  Dorothy  Sebastian. 

"BLACK  ACE.  THE"— Pathe.— From  the 
screen  play  by  Ford  I.  Beebe.  Scenario  by  Ford  I. 
Beebe.  Directed  by  Leo.  D.  Maloney.  Photography 
by  Edward  A.  Kull.  The  cast:  Dan  Stockton,  Don 
Coleman;  Dan  Stockton,  as  a  boy.  Billy  Butts;  Mary 
Evans,  Jeanette  Loff;  "Draw"  Evans,  J.  P.  McGowan; 
"Cherokee"  Kaul,  Noble  Johnson;  "Slim"  Brisco, 
William  Steele;  Ranger  Griggs,  Ben  Corbett;  SergearU 
McCann,  Edward  Jones. 

"CAVALIER.  THE "  —  Tiffany-Stahl.  —  From 
the  novel  "The  Black  Rider'.'  by  Max  Brand. 
Adapted  by 'Victor  Irvin.  Directed  by  Irvin  Willat. 
Photography  by  John  Stevens  and  Harry  Cooper. 
The  cast:  El  Cabellero,  Richard  Talmadge;  Taki, 
Richard  Talmadge;  Lucia  D'Arquisla,  Barbara  Bed- 
ford; Her  Aunt,  Nora  Cecil;  Ramon  Torreno,  David 
Torrence;  Carlos  Torreno,  David  Mir;  Sergeant  Juan 
Dinero,  Stuart  Holmes;  Pierre  Gaston,  Christian 
Frank;  The  Padre,  Oliver  Eckhardt. 

art. — From  the  story  by  Edwin  Baird.  Adapted  by 
George  Pyper.  Directed  by  Duke  Worne.  Photog- 
raphy bv  Walter  Griffin.  The  cast:  Esther  Strom, 
Barbara'  Bedford;  Daniel  Randolph,  Robert  Frazer; 
Symington  Otis,  David  Torrence;  Kathleen  Otis, 
Jacqueline  Gadsdon;  "Slug"  Nikolay,  Paul  Panzer; 
Kelly,  Jack  CarUsle;  Quigg,  Henry  Roquemore. 

"DRIFTWOOD" — Columbia. — From  the  story 
by  Richard  Harding  Davis.  Adapted  by  Lillie  Hay- 
ward.  Directed  by  Christy  Cabanne.  Photography 
by  Joe  Walker.  A.  S.  C.  The  cast:  Jim  Curtis,  Don 
Alvarado;  Daisy  Smith,  Marceline  Day;  Johnson, 
Alan  Roscoe;  Barlow,  J.  W.  Johnston;  "Doc"  Prouty, 
Fred  Holmes;  Lola,  Fritzi  Brunette;  Mrs.  Prouty, 
Nora  Cecil ;  Johnson's  Henchman,  Joe  Mack. 

"GERALDINE" — Pathe.— From  the  story  by 
Booth  Tarkington.  Adapted  by  Carey  Wilson. 
Directed  by  Melville  Brown.  Photography  by  Dave 
Abel.  The  cast:  Geraldine,  Marion  Nixon;  Eddie, 
Eddie  Quillan;  Mr.  Wygate,  Albert  Gran;  Bell 
Cameron,  Gaston  Glass. 

"HARVEST  OF  HATE,  THE"— Universal.— 
From  the  story  by  William  Lord  Wright  and  George 
Plympton.  Directed  by  Henry  MacRae.  Photog- 
raphy by  George  Robinson.  The  cast:  Rex,  Rex; 
Jack  Merritt,  Jack  Perrin;  M'argie  Smith,  Helen 
Foster;  Martin  Trask,  Tom  London;  Starlight,  Star- 

"HEAD  OF  THE  FAMILY,  THE"— Gotham.— 
From  the  story  by  George  Randolph  Chester. 
Scenario  by  Peter  Milne.  Directed  by  Joseph  C. 
Boyle.  The  cast:  Bill  Moran,  William  Russell; 
Michael  Dennis  O'Sliaughnessy,  Mickey  Bennett; 
Alice  Sullivan,  Virginia  Lee  Corbin;  Charley  Sullivan, 
Richard  Walling;  Mabel  Manning,  Alma  Bennett; 
Daniel  Sullivan,  William  J.  Welsh;  Maggie  Sullivan, 
Aggie  Herring. 

"KING  COWBOY"— FBO.— From  the  story  by 
S.  E.  V.  Taylor.  Continuity  by  Frank  Howard  Clark. 
Directed  by  Robert  DeLacy.  Photography  by 
Norman  DeVol.  The  cast:  Tex  Rogers,  Tom  Mix; 
Polly  Randall,  Sally  Blane;  Ralph  Bennett,  Lou 
Meehan;  "Shorty"  Sims,  Barney  Furey;  Abdul  El 
Hassan,  Frank  Leigh;  Ben  Suliman  AH,  Wynn  Mace; 
Jim  Randall,  Robert  Fleming. 

"KING  OF  THE  RODEO  "—Universal.— From 
the  story  by  B.  M.  Bower.  Adapted  by  George 
Morgan.  Directed  by  Henry  MacRae.  The  cast: 
Montana  Kid,  Hoot  Gibson;  Dulcie  Harlan,  Kathrj'n 
Crawford;  Chip,  Sr.,  Charles  K.  French;  Mother, 
Bodil  Rosing;  J.  G.,  Harry  Todd •  Haj-/aJ!,  Joseph  W. 
Girard;  Slim,  Slim  Summerville;  Shorty,  Jack  Knapp; 
Weasel,  Monte  Montague. 

Swedish  Biograph. — From  the  story  by  Selma 
Lagerlof.  Directed  by  Mauritz  Stiller.  The  cast: 
Countess  Elizabeth  Dohna,  Greta  Garbo;  Costa  Berling. 
Lars  Hanson;  Countess  Martha  Dohna,  Ellen  Ceder- 
stron;  Ebba  Dohna,  Mona  Martennson;  Marianne 
Sinclaire,  Jenny  Hasselquist;  Mrs.  Gustafa  Sinclaire, 
Karin  Svanstrom;  Squiress  Marjaretha  Somelius, 
Gerda  Lundequist-  Count  Henrik  Dohna,  Torsten 
Kammeren;  Capt.  Christian  Berg,  Svend  Tornbech. 

"MAKING  THE  VARSITY  "—Excellent.— 
From  the  story  by  Elsie  Werner  and  Bennett  South- 
ard. Directed  by  Chff  Wheeler.  Photography  by 
Edward  Kull.  The  cast:  Ed  Ellsworth,  Rex  Lease; 
Wally  Ellsworth,  Arthur  Rankin;  Estelle  Carter, 
Gladys  Hulette;  Mrs.  Ellsworth,  Edith  Yorke;  Gladys 
Fogarty,  Florence  Dudley;  Jerry  Fogarty,  Carl  Miller; 
Cridlcy,  James  Latta. 

" NAPOLEON'S  BARBER"  —  Fox-Movietone. 
• — From  the  story  by  Arthur  Caesar.  Scenario  by  Ben 
Holmes.  Directed  by  John  Ford.  Photography  by 
Joseph  August.  The  cast:  A^o^o/eo«,  Otto  Matiesen; 
Empress  Josephine,  Natalie  Golitzin;  Napoleon's 
Barber,  Frank  Reicher;  Barber's  Wife,  Helen  Ware; 
Barber's  Son,  Philippe  de  Lacy;  Tailor,  D'Arcy 
Corrigan;  Blacksmith,  Rus  Powell;  Peasant,  Michael 
Mark;  French  Officer,  Buddy  Roosevelt;  French 
Officer,  Ervin  Renard;  French  Officer,  Y.  Troubetsky; 
French  Officer,  Joe  Waddell;  Soldier  Bit,  Henry 

"NAUGHTY  BABY"— First  National.— From 
the  story  by  Charles  Beahan  and  Garrett  Fort. 
Scenario  by  Tom  Geraghty.  Directed  by  Mervyn 
LeRoy.  The  cast:  Rosalind  McCill,  Alice  White; 
Terry  Vandeveer,  Jack  Mulhall;  Bonnie  Le  Vonne 
Thelma  Todd;  Polly,  Doris  Dawson;  Terry's  Pal, 
James  Ford;  Goldie  Torres,  Natalie  Joyce;  Bonnie's 
Pal,  Frances  Hamilton;  Dugan,  Fred  Kelsey;  Madame 
Fleurette,  Rose  Dione;  Mary  Ellen  Toolen,  Fanny 
Midgley;  Benny  Uzzy)  Cohen,  Benny  Rubin;  Joe 
Cassidy,  Andy  Devine;  Tonny  Caponi,  Georgie  Stone; 
Terry's  Valet,  Raymond  Turner;  Toolen,  Larry 

"ON  TRIAL" — ^Warner-Vitaphone. — From  the 
stage  play  by  Elmer  Rice.  Scenario  by  Robert  Lord. 
Directed  by  Archie  Mayo.  The  cast:.  Joan  Trask, 
Pauline  Frederick;  Robert  Strickland,  Bert  Lytell; 
May  Strickland,  Lois  Wilson;  Gerald  Trask,  Holmes 
Herbert;  .Arbuckle,  Defense  Attorney,  Jason  Robards; 
Gray,  Prosecuting  Attorney,  Richard  Tucker;  Stanley 
Glover,  Johnnie  Arthur;  Doris  Strickland,  Vondell 
Darr;  Ttirnbull,  Franklin  Pangborn;  Judge,  Edmund 
Breese;  Dr.  Morgan,  Edward  Martindel;  Clerk,  Fred 

"OUTCAST " — First  National. — From'the  stage 
play  by  Hubert  Henry  Davies.  Adapted  by  Agnes 
Christine  Johnston.  Directed  by  William  A.  Seiter. 
The  cast:  Miriam,  Corinne  Griffith;  Tony.  James 
Ford;  G(;o#i-fy,  Edmund  Lowe;  Hugh,  Huntly  Gordon; 
Valentine,  Kathryn  Carver;  Mable,  Louise  Fazenda; 
Moreland,  Claude  King;  Jack,  Sam  Hardy;  Mrs. 
O'Brien,  Patsy  O' Byrne;  Fred,  Lee  Moran. 

"POWER  OF  THE  PRESS,  THE"— Columbli. 
— From  the  story  by  Frederick  A.  Thompson. 
Adapted  by  Sonya  Levien.  Directed  by  Frank 
Capra.  Photography  by  Chet  Lyons.  The  cast: 
Clem  Rogers,  Douglas  Fairbanks,  Jr.;  Jane  A  twill, 
Jobyna  Ralston;  Marie,  Mildred  Harris;  Blake,  Philo 
McCullough;  Van,  Wheeler  Oakman;  City  Editor, 
Robert  Edeson;  Mr.  Atwill,  Edwards  Davis;  Johnson, 
Del  Henderson;  District  Attorney,  Charles  Clary. 

"QUEEN  OF  BURLESQUE"— Tiffany-Stahl. 
— From  the  story  by  H.  R.  Durant.  Adapted  by  Lois 
Leeson.  Directed  by  Albert  Ray.  Photography  by 
Ernest  Miller.  The  cast:  Molly  Wilson,  Belle 
Bennett;  Jim  Wilson,  Joe  E.  Brown;  Peggy  Lamer, 
Alberta  Vaughn;  Dan  Kingsley,  Charles  Byer. 

"RED  MARK,  THE"— Pathe.— From  the  story 
by  John  Russell.  Adapted  by  Juhen  Josephson. 
Directed  by  James  Cruze.  Photography  by  Ira 
Morgan.  The  cast:  Zelie,  Nena  Quartaro;  Bibi-Ri, 
Gaston  Glass;  De  Nou,  Gustav  Von  Seyflertitz; 
Mother  Caron,  Rose  Dione;  Papa  Caron,  Luke  Cos- 
grave;  Sergeo,  Eugene  Pallette;  Bombiste,  Jack  Roper; 
Lame  Priest,  Charles  Dervis. 

Brery  adrertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 

Photoplay  Magazine — Advertising  Section 

"RED  WINE"— Fox.— From  the  story  by  Ray- 
mond Cannon.  Scenario  by  Andrew  B.  Bennison. 
Directed  by  Raymond  Cannon.  The  cast:  Alice 
Cook.  June  Colh'cr;  Charles  H.  Cook,  Conrad  Nagcl; 
Jack  Brown.  Artliur  Stone;  Miss  Scott,  Sharon  Lynn; 
Jack's  First  Friend,  E.  Allvn  Warren;  Jack's  Second 
Friend,  Ernest  Hilliard;  Jack's  Third  Friend,  Ernest 
Wood;  Jack's  Fourth  Friend,  Marshal  Babe  Ruth; 
Stenographer,  Dixie  Gay. 

"RILEY  THE  COP"— Fox.— From  the  story  by 
James  Gruen  and  Fred  Stanley.  Scenario  by  James 
Gruen  and  Fred  Stanley.  Directed  by  John  Ford. 
Pliotography  by  Charles  Clarke.  The  cast:  James 
Riley  (the  Cop),  Farrell  Macdonald;  Lena  Kraus- 
meyer,  lx)uisc  Fazenda;  Mary  Coronelli,  Nancy 
Drexel;  Joe  Smith,  David  Rollins;  Hans  Krausmeyer, 
Harry  Schultz;  Caroline.  Mildred  Boyd;  Julius 
Kuchendorf,  Ferdinand  Schumann  Heink;  Sergeant  of 
Police.  Tom  Wilson;  Judge  Coronelli,  Del  Henderson; 
Mr.  Kuchendcxrf.  Russtll  Powell;  Munich  Cab  Driver, 
Otto  H.  Fries;  Paris  Cab  Driver,  Billy  Bevan;  Crook, 
Mike  Donlin. 


Fox. — From  the  stage  play  by  Paul  Armstrong. 
Adapted  by  Sidney  Lanfield  and  Douglas  Doty. 
Directed  by  Irving  Cummings.  Photography  by 
Conrad  Wells.  The  cast :  Judith  Andrews.  Mary 
Astor;  Derby  Dan  Manning,  Ben  Bard;  Edii'in  Burke, 
Robert  Elliott;  Stephen  Ransome.  John  Boles;  Cham- 
pagne Joe.  Oscar  Apfel;  Blondy  Nell,  Helen  Lynch; 
Asa  Jenks.  William  H.  Tooker. 

"SCARLET  SEAS '—First  National.— From 
the  story  by  W.  Scott  Darling.  Scenario  by  Bradley 
King.  Directed  by  John  Francis  Dillon.  The  cast: 
Donkiyi.  Richard  Barthelmess;  Rose,  Betty  Compson; 
Margaret,  Loretta  Young;  Johnson.  James  Bradbury, 
Sr.;  Toomey.  Jack  Curtis;  Capi.  Barbour,  Knute 

"SHAKEDOWN.  THE"  —  Universal.  —  From 
the  story  by  Charles  A.  Logue.  Adapted  by  Charles 
A.  Logue.  Directed  by  William  Wyler.  The  cast: 
Marjorie.  Barbara  Kent;  Dave  Hall,  James  Murray; 
Bouncer.  Harry  Gribbon;  Manager,  Wheeler  Oak- 
man:  Salesman.  Jack  Raymond;  Clem,  Jackie  Hanlon; 
Battling  Roff,  George  Kosaraaros. 

■  SILENT     SHELDON  "— Rayart.— From     the 

story  by  Pierre  Conderc.  Continuity  by  Pierre 
Conderc.  Directed  by  Harry  Webb.  Photography 
by  William  Thornly.  The  cast:  Jack  Sheldon,  Jack 
Perrin;  Ivory,  his  Valet.  Martin  Turner;  Rex.  his  Dog, 
By  Himself;  Starlight,  his  Horse,  by  Himself;  Mary 
Watkins,  Josephine  Hill;  Her  Father.  Whitehorse; 
Bill  Fadden,  Leonard  Chaplan;  Joe  Phillips,  Lew 
Meehan;  The  Sheriff.  Robert  MacFarland. 

"SINNERS"  PARADE"— Coli;mbia.— From  the 
story  by  David  Lewis.  Adapted  by  Beatrice  Van. 
Directed  by  John  G.  Adolfi.  Photography  by  James 
Van  Trees.  The  cast:  .4/  Morton,  Victor  Varconi; 
Mary  Tracy,  Dorothy  Revier;  Bill  Adams,  John 
Patrick;  Connie  Adams,  Edna  Marion;  Sadie,  Mar- 
jorie Bonner;  Mrs.  Adams,  Clarissa  Selwynnc; 
Chauffeur,  Jack  Mower. 

"SINS  OF  THE  FATHERS"— Par  amount.— 
From  the  story  by  Norman  Burnstine.  Adapted  by 
E.  Lloyd  Sheldon.  Directed  by  Ludwig  Berger.  The 
cast:  Wilhelm  Spengler,  Emil  Jannings;  Gretla.  Ruth 
Chatterton;  Totn  Spengler,  Barry  Norton;  Mary 
Spengler.  Jean  Arthur;  Otto.  Jack  Luden;  Mother 
Spengler.  ZaSu  Pitts;  Bill,  Matthew  Betz;  The  HtRh- 
Jacker,  Harry  Cording;  The  Count,  Arthur  Housman; 
The  Eye  Specialist,  Frank  Reicher. 

"SIOUX  BLOOD"— M.-G.-M.— From  the  story 
by  Houston  Branch  and  Harry  Sinclair  Drago. 
Scenario  by  George  C.  Hull.  Directed  bv  John 
Waters.  The  cast:  Flood,  Tim  McCoy;  IVhite  Eagle. 
Robert  Frazer;  Barbara  Ingram,  Marion  Douglas;  Mr. 
Ingram.  Clarence  Geldert;  Crazy  Wolf,  Chief  Big 
Tree;  Cheyenne  Jones,  Sidney  Bracy. 

"SOMEONE  TO  LOVE"— Paramount.— From 
the  story  by  Alice  Duer  Miller.  Adapted  by  Ray 
Harris.  Directed  by  F.  Richard  Jones.  The  cast: 
William  Shelby.  Charles  Buddy  Rogers;  Joan  Ken- 
dricks.  Mary  Brian;  Aubrey  Weems.  William  Austin; 
Michael  Casey.  Jack  Oakie;  Mr.  Kendricks.  James 
Kirkwood;  Miss  Hayes,  Mary  Alden;  Sim?nons, 
Frank  Reicher. 

"SOUTH  OF  PANAMA"  —  Chesterfield.  — 
From  the  ston,'  by  L.  A.  Young.  Adapted  bv  Arthur 
Hoerl.  Directed  by  Bernard  F.  McEveety.  The 
cast:  Carmelita.  Carmelita  Geraghty;  Emilio  Cer- 
vaTites.  Edouardo  Raquello;  Dick  Lewis.  Lewis 
Sargent;  ".4c*'"  Carney,  Philo  McCullough;  "Palsy." 
Marie  Messinger;  "Red"  Hearn,  Henry  Arras; 
Presidenle  Laredon.  Carlton  King;  Garcia,  Joe  Burke; 
Capt.  of  Guard,  Fred  Walton. 

"VIKING.  THE"  —  Technicolor-M.-G.-M.  — 
From  the  novel  "The  Thrall  of  Leif  the  Lucky"  by 
Ottilie  A.  Liljencrantz.  Scenario  by  Jack  Cunning- 
ham. Directed  by  R.  William  Neill.  Photography 
by  George  Cave.  The  cast:  Leif  Ericsson,  Donald 
Crisp;  Helga,  Pauline  Starke:  Ahvin.  Le  Roy  Mason; 
Eric  the  Red.  Anders  .Randolf;  5(gwrd,|  Richard  Alex- 
ander; Egil.  Harr>'  Lewis  Woods;  Kark,  Albert 
MacQuarrie;  King  Olaf,  Roy  Stewart;  Odd,  Torben 
Meyer;  Lady  Editha,  Claire  McDowell;  Thorhild. 
Julia  Swayne  Gordon. 

Brickbats  and  Bouquets 


The  Weighty  Question 

Omaha,  Neb. 
In  reference  to  Lucile  Boyd's  letter  which 
appeared  in  the  November  Photoplay:  She 
tells  the  whole  world  that  she  thinks  the  stars 
should  put  on  some  weight.  I  agree  with  her — 
almost.  She  gave  Molly  O'Day  as  an  example. 
Miss  O'Day  has  always  been  one  of  my 
favorite  stars,  but  I'll  have  to  admit  that  she 
was  much  too  hefty  in  her  latest  picture.  Her 
sister,  Sally  O'Neil  is  too  thin.  Two  stars  who 
are  just  about  right  are  Renee  Adoree  and 
Clara  Bow.  Billie  Dove  is  the  most  beautiful 
girl  on  the  screen,  but  she  is  also  a  little  too 
thin.  Ruth  Taylor  is  absolutely  scrawny, 
and  I  can't  stand  her.  From  my  experience,  I 
find  men  prefer  a  girl  who  is  at  least  pleasantly 
plump.  Georgiaxa  Rjbal. 

Those  "Cinema  Art"  Theaters 

Philadelphia,  Penna. 

Recently  there  opened  in  this  city,  one  of  the 
Motion  Picture  Guild's  Little  Theaters,  cater- 
ing to  the  "minority  taste."  Its  first  picture 
was  "Siegfried."  The  local  critics  praised  it 
to  the  sky.  It  was  with  the  anticipation  of 
viewing  a  wonderful  picture  that  I  went  to  see 
it.  But  as  the  picture  unfolded,  I  reaUzed  that 
I  had  been  fooled.  The  beautiful  sets  were 
made  ugly  by  crude  lighting  and  mediocre 
acting.  If  this  is  beauty  and  art,  give  me  the 
American  films  with  all  their  gaudiness.  They 
may  be  full  of  gilt  bathrooms  and  beautiful 
but  dumb  stars,  but  nine-tenths  of  them  are 
better  than  these  so-called  artistic  films. 

The  Little  Theater  offers,  as  coming  attrac- 
tions, such  films  as  Xazimova  in   "Salome," 

which  I  saw  at  a  cheap  nickelodeon  about  seven 
years  ago,  and  Emil  Jannings  in  "Tartuffe," 
which  was  severely  criticized  by  Photoplay 
several  months  ago. 

Let  the  Motion  Picture  Guild  continue  its 
work  of  "saving"  the  movies,  but  give  me 
Photoplay's  "Six  Best  of  the  Month"  and 
I  shall  not  want  for  finer  or  better  entertain- 
ment. W.  W.  S. 

Harsh  Words  for  Von 

Salem,  Oregon. 
After  witnessing  "The  Wedding  March" — 
"Sole  Creation  of  Eric  vonStroheim" — I  must 
say,  if  this  is  Art,  I'm  Conrad  Nagel.  E.xactly 
what  is  supposed  to  be  the  "message"  of  such 
nauseous  slush?  One  would  think  it  must  have 
been  penned  by  Jim  Tully;  but  no,  the  noble 
Von  takes  sole  credit.  It  is  an  insult  to  the 
intelligence  of  any  decent  person  to  have  been 
inveigled  into  paying  fifty  cents  for  the  privi- 
lege of  spending' two  hours  in  a  theater  where 
such  an  orgy  of  bestiahty  is  presented. 

Mrs.  S.  L.  Peters. 

The  Demon  "Kiddie" 

Los  Angeles,  Calif. 
Judging  from  all  indications,  as  proffered  by 
current  screen  productions,  that  pest  of  all 
modern  entertainment — the  Kiddie — is  still 
with  us.  We  go  to  a  movie  at  night  seeking 
relaxation  and  find  ourselves  face  to  face  with 
a  Kiddie  Revue!  And  what  artificial  lumps 
of  humanity  these  kiddies  are,  with  their 
skinny  shanks  and  frizzled  heads.  What  shrill, 
piping  little  voices!  Can't  something  be  done 
to  those  females  who  push  their  child  prodigies 
into  the  limelight?  Mrs.  R.  C.  Fisher. 




"W70ULD  you  buy  Christ- 
^^  mas  Seals  if  you  knew 
they  had  helped  to  reduce  the 
tuberculosis  death-rate?  In 
the  past  twenty  years  the 
death-rate  has  been  cut  in 
half — a  saving  of  more  than 
125,000  lives  in  the  year 
1928  alone. 

"Buy  Christmas  Seals,"  for 
they  are  fighting  tuberculosis 
every  day  of  the  year. 

Christmas  Seals  give  pro- 
tection to  your  friends,  to 
your   family  —  and   to   you! 

The  National,  State,  and  Local  Tuberculoeis 
Asaociationa  of  the  United  States 



Lips  that   tantalize  ran  be  yours  in  two  months,      Pertertly  shaped 
d   without  cost  or  diHcomfort.       M.   Trilety's  new  lipshnper  hns  b'ca 
UAod  with  miraculous  ro.xulte,  bjr  thouBAnde  of  men,    women    and  (iris. 
Reduces  thick,  protruding,  Droniinenl  lipalto  norma) 
'c.     Wear  il  at  niiht  for  two   months  and   you  ~ 

ill  have  lips  that  rival  those  of  the  most  famous 
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6TUDI0S    Uept.  fi-3.  427  Diveraer  Porkwsy.  Chicaio. 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 

^  this  he  Topical  American  Girl  i 


SMART  Set  is  trying  to  find  the  girl  who  has 
all  the  characteristics  which  justify 
her  to  be  known  as  the  Typical  American 

What  are  these  characteristics?  You 
American  girls — tell  us  the  requirements 
necessary  for  a  girl  to  be  typical  of  your  sex. 

The  only  conditions  are  that  she  be  between 
the  ages  of  18  to  30  and  unmarried. 

Smart  Set  will  pay  $100  in  cash  prizes 
for  the  best  written  descriptions  of  the  Typical 
American  Girl.  Just  a  letter  will  do.  It  is 
not  a  beauty  contest.  Full  details  are 
printed  in  Smart  Set. 

Start  Reading  SMART  SET  Now 

The  Smart  Young  Woman^s  Magazine 

EVERY  girl  wants  personality, 
beauty  and  popularity.  Every 
girl  wants  a  successful  career  and  a 
successful  marriage.  Smart  Set  helps 
her  attain  these. 

In  Smart  Set — famous  beauties  tell 
you  their  beauty  secrets  .  .  .  mem- 
bers of  the  "400"  tell  you  how  to  ac- 
quire the  social  graces  .  .  .  famous 
personalities  tell  you  how  to  acquire 
personality  and  popularity  ....  famous 
authorities  tell  you  how  to  be  happy  in 
love  and  marriage  .  .  .  outstanding 
successful  women  tell  you  how  to 
succeed  in  your  career.    And  you  are 

also  shown  the  newest  fads  and  fash- 
ions purchasable  in  the  smart  shops 
of  your  own  town. 

In  addition  to  these  and  numerous 
other  helpful  features,  Smart  Set 
prints  a  wealth  of  fascinating,  clean, 
wholesome  fiction. 

You  will  be  delighted  with  Smart 
Set.    Start  reading  it  today. 


Smart  Set 

for  the  smart  young  woman 

OUT  Now 

Every  advertisement  in  PHOTOPLAT  MAGAZINE  la  guaranteed. 

METRO-Goldwyn-Mayer  gave  you 
"THE  Big  Parade"  and  "Ben-Hur." 
NOW  comes  the  mightiest  of  all! 
THE  greatest  romance  of  all  time 
GET  ready  for  your  biggest  thrill! 
THE  Epic  of  the  Klondike  Gold  Rush! 


If  your  theatre  is  equipped  for  Sound 

Pictures,  you  can  hear  "The  Trail  of 

'98"  in  Metro  Movietone. 






Production  based 
on  the  norel  by 

Robert  W.  Service 





Adaptation  by  Benjamin  GlaZBT 

Continuity  by  Benjamin  Glazer  and. 

Waldemar  Young 

Titles  by  Joe  Farnham 

Directed  by  Clarence  Brown 


Fighting   the  perilous  White  Horse 

Rapids    is    the  biggest    thrill    you've 

ever  had. 

The  desperate  struggle  to  cross  the 

Chilkoot  pass  is  shown  vividly  together 

vtrith  the  gigantic  snow  slide  engulfing 



The  burning  of  Dawson  City,  the 
screen's  greatest  spectacle  to  date! 


"More   stars   than   there   are   in 


\¥ill  it  fade  ?      Will  it  shrink  ? 

Let  the  saleswcmaii  in  the  smart 
shcp  tell  yen  Tvhy  this  care  is  safe 

Whenever  you  buy  anything  especially 
delicate  or  costly — a  piece  of  cobwebby 
lingerie,  or  a  gay,  fine  sweater — ask  the 
saleswoman  how  to  iiash  it. 

The  two  important  precautions  she 
will  advise  are  these:  "Use  lukewarm 
water"  and  "Use  Ivory  Soap."  (Among 
thousands  of  salespeople  and  buyers  in 
leading  shops  of  30  cities,  unprejudiced 
inquiry  reveals  that  Ivory  is  outstand- 
ingly first  choice  by  far  as  the  safest 
soap  for  silks  and  woolens.) 

Let  several  examples  of  actual  recom- 
mendations given  recently  to  customers 
in  hundreds  of  the  finest  and  largest 

stores  of  the  country  tell  you  why  sales- 
people everywhere  advise  Ivory: 

Their  own  words 

For  silk  underwear:  "Use  Ivory  Flakes. 
It  is  very  mild  and  won't  fade  the  gar- 
ment. Unfortunately  some  other  soaps 
cut  and  rot  silk  in  time."  {Chicago — a 
leading  department  store) 

For  printed  frocks:  "Ivory  is  the 
purest  soap  you  can  buy  and  if  I  were 
you,  I  shouldn't  take  a  chance  with 
anything  else."  (Boston) 

For  fragile  sweaters:"  Ivory  is  so  mild 
it    cannot  harm   fabrics."    {New  York) 

Naturally  a  soap  that  is  used  to  bathe 
tiny  babies  in  leading  hospitals  is  extra 
safe  for  fine  silks  and  woolens  .  .  .  So — • 
unless  a  fabric  will  run  or  shrink  in  pure 
water  alone,  salespeople  say  with  con- 
fidence, "You  can  wash  it  safely  with 

°'"^'  PROCTER  &  GAMBLE 

FREE  !  A  little  book  "Thistledown 
Treasures — their  selection  and  care, "  an- 
swers such  questions  as:  Can  it  be  washed? 
Will  it  shrink?  AVill  it  fade?  How  can  I 
whiten  yellowed  silk  and  wool?  Simply  send 
a  post  card  to  Winifred  S.  Carter,  Dept. 
VV-19,  P.  O.  Box  1801,  Cincinnati,  Ohio. 

Among  salespeople  in  the  finest 
stores  of  30  leading  cities.  Ivory 
is  overwhelmingly  first  choice  as 
the  safest  soap  for  fine  silks 
and  woolens. 


qg^Vioo  %    pu RE 

C  1929.  p.  &  G.  Co. 


'■Ihe  ISlational  (^titde  to  Kjviotton  'ftctures 

hat  Are  Your  Cg 

This  Cover  Drawing  is  a 
Color  Chart  For  Clothes 

See  Page  42 

"Going  Hollywood"- M^^ 

The  Town  Does  To  People 


©1929,  C.C.Co. 

What  is  the  difference  between  Baby  Ruth 
and  candy  costing  a  dollar  a  pound?  It 
isn't  in  quality;  it  isn't  in  purity;  it  isn't 
in  taste.  For  in  Baby  Ruth  you  will  enjoy 
the  purest  chocolate  from  sunny  tropical 
plantations ;  the  sweetest  golden  nuts, 
hand-picked  for  plump- 
ness; and  like  delicacies 
combined  in  rare  flavor. 

In  this  convenient  individual 
packet,  or  the  one  pound 
Family  Box  for  home  use 

One  great  difference  is  that  there  are  no 
gilt  ribbons,  no  fancy  boxes.  That  is  one 
reason  why  we  can  make  Baby  Ruth  so 
generously  good  for  only  5c.  So  if  you  buy 
candy  for  its  delicious,  tempting  refresh- 
ment, join  the  millions  who  daily  prefer 



OTTO  SCHNERING,  President 

Baby  Ruth  to  all  other  can- 
dies. Eatitasitisorsliced. 
Treat  yourself  today! 

Photoplay  Magazine — Advertising  Section 

Tooth  Brush  ? 

A  LITTLE  tinge  of  "pink"  upon  a 
tooth  brush  may  be  a  trivial  and 
unimportant  thing.  But  more  hkely  it 
is  a  pretty  broad  hint  that  somewhere 
in  your  gum  wall  is  a  tender,  spongy 
spot  ,  .  .  one  which  you  can  quickly 
restore  to  normal  with  Ipana  and  mas- 
sage ...  or  one  which,  if  negleaed, 
could  easily  result  in  more  serious  and 
more  stubborn  troubles. 

*  *  * 
One  great  element  present  in  the  lives 
of  all  of  us  is  having  a  bad  effect  upon 
our  gums.  It  is  this  soft  modern  food 
we  eat,  fibreless,  robbed  of  roughage, 
creamy,  and  all  too  easy  to  eat. 

ever  neai 

Start  with  Ipana 



It  does  not  give  to  the  gums  the 
stimulation  they  need  to  remain  in 
health.  It  causes  them  to  grow  flabby 
and  soft  ...  to  bleed  easily. 

How  Ipana  and  Massage 
restore  the  gums  to  health 

In  half  a  minute,  every  time  you  brush 
your  teeth,  you  can  remedy  the  damage 
that  your  all  too  soft  diet  is  doing  to 
your  gums. 

For  a  light  massage  with  the  finger  or 
the  brush  will  restore  to  your  gums  the 
stimulation  which  they  need  so  much. 
Thousands  of  dentists  recommend  it, 
for  they  know  the  good  it  does. 

Thousands  of  them,  too,  recommend 
that  the  massage  be  effected  with  Ipana 
Tooth  Paste.  For  Ipana,  because  of  its 
content  of  ziratol  (a  recognized  anti- 
septic and  hemostatic)  has  a  salutary  and 
stimulating  effect  upon  the  gums  fully 

vou  write  to  advertisers  please  metitlon  PTTOTOri-.VT  MAGAZIXB. 

as  important  as  the  massage.  It  will 
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The  coupon  oflfers  a  10-day  sample, 
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^  .^.:^-*i--rvrM*r'jvrKE«^%j^t^  i^  ?^  r 

.  Stau 



Photoplay  Magazine — Advertising  Section 


takes  an  easy  lead 
ill  talking  pictures" 


Short  Fea- 
consists  of  13 
Christie  short 
plays,  28 


^    So    stated   the    New  York 
Morning    "World"    on    the 
presentation  at  the  Criterion 
Theatre    of   "Interference", 
Paramount's  first  All-Talking 
Picture.  And  public  and  crit- 
ics from  coast 
to  coast  have 
echoed    and 
triumph    in 
this  new  form 

of  entertainment!  But  great 
as  "Interference"  is,  it  is  only 
a  hint  of  the  amazing  Para- 
mount Talking  Pictures  that 
are  coming  to  you.  ^  Between 
now  and  July  1,  1929,  Para- 
mount will  present  22  ALL- 
TALKING  Pictures  with  play- 
ers selected  from  the  cream 

of    Broadway 

talen  t    and 


own    great 

stars.  In  every 

particular — 

in   story,    in 

casting,  and 
in  direction,  they  are  Para- 
mount—commanding   all    the  PAHAMOUNT  FAMOUS  LASKY  CORP.,  ADOLPH  ZUKOR,  PRES..  PARAMOUNT  BUILDING,  N.  Y.  C. 

Bveiy  advcrtisemcDt  in  rilOTorl.AY  MAGAZINE  Is  guaranteed. 

resources  of 
the  greatest 
in  motion  pic- 
tures. Today, 
as  for  16  years, 
only  Para- 
mount will  ever  surpass 
Paramount!  ^  In  addition. 
Paramount  presents  17  part 
talking,  singing  and  sound 
hits.  ^  Many  of  these  sound 
pictures  will 
have  "silent" 
versions  as 
well,  so  if  the 
theatre  you 
now  attend  is 
not  equipped 
for  sound, 
you  will  still  be  able  to  see  and 
enjoy  these  great  Paramount 
Pictures.     ^  Paramount's 




Talking  and  Singing  Acts, 
and  Paramount  Sona 
Cartoons  and  "Famous  Com- 
posers" Series.  ^  Soon,  the 
news  reel  that  you  all  know 
as  the  best  and  most  timely 
will  be  in  sound,  and  when 
you  hear  Paramount  Sound 
News  you  will  realize  that 
here,  too.  Paramount  is  su- 
preme. ^  No  longer  do 
talking  pic- 
tures  attract 
on  novelty 
alone.  You 
demand  qual- 
ity and  Para- 
mount sup- 
plies it.  q  "If  it's  a  Para- 
mount  Picture  it's  the  best 
show  in  town  "! 




The  World's   Leading   Motion   Picture   Publication 






M-  !  ■' 

Vol.  XXXV 

^JAMES  R.  Quirk 

=  LUlfG'R-'-A'NiEl-P'tJBLIbHLR    




No.  3 


The  Hiffh-Liffhts  of  This  Issue 


Cover  Design  Charles  Sheldon 

Estelle  Taylor — Pjiinted  from  Life 
As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 
Brief  Reviews  of  Current  Pictures  8 

A  Guide  to  Your  Evening's  Entertainment 
Brickbats  and  Bouquets  10 

The  Voice  of  the  Fan 

Sweets  for  Valentine's  Day  13 

Photoplay's  Cooli  Book  Tells  You  How  to  Prepare 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 
Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Co-Stars  for  Life  29 

The  Scenario  of  the  Dolores  Costello-John  Barry- 
more  Romance 

Going  Hollywood  Ruth  Waterbury    30 

What  Happens  to  People  in  the  Land  of  the  Cinema 
Something  About  Myself 

As  told  to  Katherine  Albert    32 

Beginning  the  Life  Story  of  Nils  Asther 

The  Holy  Racketeers  Leonard  Hall    35 

A  Cross-Cut  Picture  of  the  Censorial  Mind 
The  Hot  Baby  of  Hollywood 

Katherine  Albert  36 

Otherwise  Lupe  Velez 
The  Studio  Murder  Mystery     The  Edingtons    38 

More  Confessions  in   this   Baffling   Murder   Serial. 
Photoplay  Offers  $3,000  for  Solutions  of  This  Crime 

What  Are  Your  Correct  Colors? 

Laurene  Hempstead     42 

The  First  of  a  Series  of  Articles  Telling  How  to  Add 
to  Your  Own  Good  Looks  Through  Correct  Use  of 

The  Politest  Man  in  Hollywood  (Fiction  Story) 
Agnes  Christine  Johnston 

A  Different  Sort  of  Off-Screen  Romance  of  a  Screen 

Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

Not  Like  Dad  Eloise  Bradley 

The  Story  of  Douglas  Fa'rbanks,  Jr.,  Is  One  of  Great 
Love  and  Little  Understanding 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

The  Stars'  Mad  Night  Life  Ruth  M.  Tildesley 

Expose  of  What  Goes  On  in  the  Gilded  Palaces  of 

It  Gets  a  Guy  Sore  (Fiction  Story) 

Stewart  Robertson 

In  Which  Mr.  Guffey's  Dream  Girl  Castle  Tumbles 
Our  Own  Baby  Stars 

Photoplay  Picks  Its  1929  Celluloid  Prospects 

Diet  for  Health  and  Beauty 

Dr.  H.  B.  K.  Willis 

Have  You  a  Problem  of  Diet?     Let  Dr.  Willis  of 
Photoplay  Be  Your  Adviser 

Your  Clothes  Come  from  Hollywood 

Lois  Shirley 
The  Influence  of  the  Screen  Creations 

Speech  Is  Golden 

The  Talkies  Are  Bringing  Old  Favorites  Back 

Amateur  Movies 

Frederick  James  Smith 

Doings  of  the  Non-Professional  Cinematographers 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 














A  complete  list  of  all  photoplays   reviewed   in  the   Shadow   Stage  this   issue  will  be  found  on   page  14 



Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 

The  International  Newa  Company.  Ltd..  Dlatrlbutlng  Agents,  5  Bream's  Building.  London.  Kngland 

James  R.  Quirk,  President  Robert  M.  Eastman,  Vice-President  Kathryn  Doui;iiekty.  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies.  Mexico  and  Cuba:  $3.00  Canada:  $.3. .TO  to  foreicn  countries.    Remittances 

should  be  made  by  check,  or  postal  or  express  money  order.     Caution— Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-clasii  matter  April  24.  1912.  at  the  Postodlce  at  Chicago.  III.,  under  the  Act  or  March  3.  1879. 

Copyright.  1929.  by  the  Photoput  PnBLismNo  Company.  Chicago. 

As  We  Go  to  Press 

JOHN  GILBERT  will  continue  as  a  star 
for  M.-G.-M.  at  one  of  the  record  salaries 
of  Hollywood.  It's  said  to  be  more  than 
$15,000  per  week.  Gilbert's  re-signed 
despite  persistent  rumors  that  he  was  going 
to  shift  to  United  Artists.  Peace  has  been 
made  and  Gilbert,  now  at  work  on  an 
African  adventure  yam,  "Thirst,"  will 
continue  at  the  Culver  City  studios. 

MAX  REINHARDT,  the  famous  German 
stage  producer,  is  here,  to  direct 
Lillian  Gish  in  an  original  story  by  Hugo  von 
Hofmannsthal.  Max  goes  to  work  imme- 
diately on  the  United  Artists  lot. 

"TTELL'S  ANGELS,"  now  in  Millionaire 
-TXproducer  Howard  Hughes'  third  mil- 
lion, actually  is  nearing  completion  after  two 
years.  Hughes  is  reported  to  have  pur- 
chased the  screen  rights  to  the  successful 
Broadway  newspaper  play,  "The  Front 
Page,"  for  $125,000. 

NILS  ASTHER  is  that  way  about 
Mary  Nolan.  Their  engage- 
ment was  reported  once  before, 
when  Nils  first  came  over.  Asther's 
trip  to  Sweden  for  the  hoUdays  was 
postponed  because  of  an  attack 
of  flu. 

SANTA  CLAUS  brought  a  lot  of 
things  to  Baclanova.  First,  she 
is  being  starred  by  Paramount,  her 
initial  vehicle  being  a  100  per  cent 
talkie  called  "The  Woman  Who 
Needed  Killing."  Second,  her  di- 
vorce decree  became  final — and  she 
is  now  free  to  wed  Nicholas  Sous- 

GARY  COOPER  has  purchased  a 
dude  ranch  in  Montana.  He'll 
spend  his  vacations  there.  Imagine 
Lupe  Velez  on  a  ranch ! 

BETTY  BRONSON  has  been 
seen  places  with  Theodore 
Young,  a  handsome  South  American 
millionaire.  Since  she  rarely  goes 
out  unchaperoned,  this  looks  se- 

BELLE  BENNETT  is  a  grand- 
mother— almost.    Her  adopted 
son  is  the  proud  father  of  a  baby  boy. 

TOM  MIX  is  at  work  on  his  last 
film  for  FBO.    He  then  goes  on  a 
ten  weeks  vaudeville  tour. 

JUST  as  Hollywood  was  whispering 
that  Lily  Damita's  contract  would 
not  be  renewed,  Sam  Goldwyn 
announced  the  signing  of  a  new  five- 
year  arrangement.  Sam  still  be- 
lieves in  the  silent  drama. 

EVAVON  BERNE  reached 
Vienna  in  time  to  sign  a  starring 
contract  for  UFA  at  1500  marks  a 
week.  Let's  see,  that's  about  $300 
a  week,  more  than  Hollywood  paid 

THE  gold  coast  main  stem,  Hol- 
lywood Boulevard,  had  150 
electrically  lighted  Christmas  trees 
for  the  holiday.    Cost :  $15,000. 

years  ago  Photoplay  chris- 
tened the  Duke  of  HoUywood  and 
the  Grand  Old  Man  of  the  Films, 

Last  Minute 



East  and  West 

has  passed  on.  He  was  a  victim  of  the 
influenza  epidemic  which  has  been  sweep- 
ing the  coast.  He  had  just  finished 
his  first  talking  picture.  Roberts  was  a 
great  actor  and  a  splendid  character.  We 
shall  miss  him. 

POLA  NEGRI  has  a  new  European  pro- 
ducing company  headed  by  Edwin 
Miles  Fadman  and  Charles  Jourjon.  She 
will  make  two  films  a  year  and,  it  is  said, 
United  Artists  wiU  release  her  productions 
over  here. 

RELEASED  by  Paramount,  Dita  Parlo  is 
returning  to  Berlin. 

PLANS  for  the  production  of  "Evange- 
line" go  right  ahead,  despite  Dolores  del 
Rio's  prostration  at  the  death  of  her  divorced 
husband.  Director  Edwin  Carewe  an- 
nounces that  there  will  be  no  delays.  Alec 
B.  Francis  has  been  cast  for  the  role  of 
Father  Felician. 

AL  JOLSON'S  nejrt  is  to  be  called 
"Mammy."  Julian  Josephson,  who 
used  to  do  Charlie  Ray's  scripts,  is  writing 
the  continuity  and  dialogue. 

WHAT'STHIS?  "TheCommand 
to  Love,"  reported  to  have 
been  barred  by  Deacon  Hays,  is  to 
be  produced  by  WiUiam  Fox.  Barry 
Norton  will  play  the  young  diplomat 
whose  necking  is  all  done  for  his 
coimtry's  sake. 

CECIL  DE  MILLE  has  selected 
Carol  Lombard  for  a  leading  role 
in  his  first  M.-G.-M.  film,  "Dyna- 
mite." Miss  Lombard  is  a  graduate 
of  the  Mack  Sennett  forces.  Conrad 
Nagel  will  have  the  chief  male  role. 

HAROLD  LLOYD  has  selected 
Jean  Arthur  as  leading  woman 
in  his  new  talking  comedy,  "TNT." 

THE  holiday  studio  depression 
has  settled  upon  HoUywood. 
The  Warners  Studio  reopens  after 
the  New  Year. 

INA  CLAIRE  starts  work  on  her 
first  Pathe  talker,  "The  Infinite 
Variety,"  on  Feb.  1. 

\KJJLLUM   FOX   has  renewed 
V"  his  contract  with  June  Colly  er, 
who  spent  the  holidays  with  her 
parents  in  New  York. 

THE  Warners  have  signed  Betty 
Compson  for  the  leading  role  in 
an  all-talkie  version  of  "The  Time, 
The  Place  and  The  Girl." 

GARY  COOPER  is  in  the  cast  of 
Emil  Jannings'  new  film,  tem- 
porarily called,  "A  Tale  of  the 


She  tried  to  tell  New  York  that  she  was 
Miss  Alice  Smith.  But  the  photog- 
raphers knew  better  and  snapped  this 
picture  of  Greta  Garbo  just  before  she 
sailed  for  Sweden.  Greta  bought  a  one- 
way ticket  and  a  non-return  passport, 
which  is  one  way  of  burning  up  her  public 


ANCY   DREXEL  has  left  the 
Fox  forces  to  free  lance. 

PHYLLIS    HAVER    has    joined 
Metro-Goldwyn-Mayer,  shifting 
from  Pathe. 

HAVING  completed  Doug  Fair- 
banks' "The  Iron  Mask," 
Director  Allan  Dwan  is  planning  a 
vacation  in  Eiu'ope. 

BEBE  DANIELS,  having  severed 
her  long  arrangement  with 
Paramount,  has  not  yet  signed  with 
anyone.  "One  thing  is  certain," 
she  says,  "I  will  do  no  more  com- 
edies. It's  drama  for  me  in  the 

Photoplay  Magazine — Advkrtising  Section 

If  I  Carit  Give\&u 

a  Magnetic  Personality 

-5  Days  FREE  Proof! 

No  matter  how  lacking  you  are  in  marvelous   personal    force,   released 

qualities  of  leadership,  no  mat-  and  magnified  a  hundredfold  in  an 

ter  how  colorless,  timid,  unsuccess-  amazingly   clear-as-crystal,   scientific 

ful  and  discouraged  you  may  be,  I  way !      More    necessary    than    good 

GUARANTEE  to  so  magnetize  your  lool^s.     More   valuable   than   money. 

personality  that  your  whole  life  will 
be  completely  transformed ! 

I  can  give  you  poise  that  ban- 
ishes self-consciousness,  charm  that 
makes  you  irresisti- 
bly popular,  personal 
power  that  will  indel- 
ibly influence  the 
minds  of  others  and 
amaze  your  friends. 

I'll  make  you  a  fas- 
cinating force  in  so- 
cial life,  a  powerful, 
dynamic,  command- 
ing figure  in  your 
profession.  You'll  be- 
come more  popular, 
more  prosperous, 
more  gloriously  suc- 
cessful than  you  ever 
dreamed  possible ! 

Let  me  send  you 
the  proof — absolutely 
free  !  If  within  5  days 
you  do  not  experience 
a  decided  change  in 

What  Is  It? 

What  is  that  magnetic, 
powerful  influence  that 
draws  one  man  to  one 
woman — forever,  irre- 
sistibly? What  is  that 
stranpe,  never-failinp:  spark 
that  awakens  love?  What  is 
it,  in  man  or  woman,  that 
seems  to  draw  and  fascinate 
— the  hypnotic  power  that 
no  one  can  resist? 

You  have  it.  Everyone 
has  it.  But  do  you  use  itt 

For  without  it  a  salesman  is  banc 
cuffed !  Without  it  a  business  man 
is  powerless  to  command !  No  actor, 
no  teacher,  no  orator,  no  statesman 
can  long  hold  his  au- 
dience spellbound 
without  this  supreme- 
ly influential  magnetic 
force ! 

Personal  Magnet- 
ism !  How  easy  to  re- 
lease it!  How  won- 
derful its  results !  No 
long  study  or  incon- 
venience. Not  the 
slightest  self  -  denial. 
Just  a  simple,  clear, 
age-old  principle  that 
taps  the  vast  thought 
and  power  resources 
within  you,  releases 
the  full  sweep  of  your 
magnetic  potentiali- 
ties and  makes  you 
almost  a  new  person 
from  what  you  were 

your  personality,  if  you  do  not  find    before ! 

yourself    making    new    friends    with         Personal    Magnetism   is   not   hypnotism. 

ease,  if  you  do  not  discover  yourself     Hypnotism  deadens^    Magnetism  awakens. 

uplifts.      Personal    Magnetism    is 

_    -  not  electricity.      It    is    like    electricity    in 

larity,  business  success  and  personal     one   way — wiiile   you   cannot   see  jt,   you 

already  on  the  way  to  social  popu- 

leadership — just  say  so!  Tell  me 
my  principle  of  personal  magnetism 
can't  do  every  single  thing  that  I 
said  it  would  do.  And  you  won't 
owe  me  one  penny ! 

can  observe  its  startling  effects.  For  the 
moment  you  release  your  Personal  Mag- 
netism }'OU  feel  a  new  surge  of  power 
witliin  you.  You  lose  all  fear.  You  gain 
complete  self-confidence.  You  become  al- 
most overnight  the  confident,  dominant, 
successful  personality  you  were  intended 
to  be — so  fascinating  that  people  are  drawn 
to  you  as  irresistibly  as  steel  is  drawn 
to  a  magnet ! 

What  is  Personal  Magnetism? 

What  is  this  marvelous  force  that 
raises  the  sick  to  glowing,  vibrant 
health,  the  timid  to  a  new,  confident 
personality,  the  unsuccessful  to  po- 
sitions of  wealth  and  astonishing 
power  ? 

You  have  it — everyone  has  it — 
hut   not    one   person   in    a    thousand     gold  embossed.     Its  scope   is  as  broad  as 

knows  hozv  to  use  it!  It  is  not  a  fad  •'/'^  '''^'^\/'.^''■,^^.%^.  Magnetism,"  "The 

.,  T.     •         •        1  Magnetic    Voice,        Physical    Magnetism, 

nor    a    theory.      It    is    simply    you,  "Thg  Magnetic  Eye,"  "Oriental   Secrets," 

yourself — your    manner — your    own  "Rapid     Magnetic    Advancement,"     "The 

The  Facts  are  Free 

The  fundamental  principles  of  Personal 
Magnetism  have  been  put  into  an  extra 
large  volume  under  the  title  of  "Instan- 
taneous Personal  Magnetism."  It  is  bound 
in  beautiful  dark  burgundy,  with  the  title 

Magnetic  Mind,"  and  "Magnetic  Healing," 
are  only  a  few  of  the  subjects  covered  in 
this  amazing  book.  A  magnificent  book 
that  tells  you  just  how  to  cultivate  the 
magnetic  influence  of  your  nature. 
You  can  sway  and 

control  others.  You 
can  command  suc- 
cess. You  can  influ- 
ence people  to  do 
the  things  you  want 
them  to  do.  Through 
this  amazing  book 
you  gain  the  key  to 
a  magnetic  person- 
ality in  5  days — or 
you  don't  pay  one 
penny.  That  is  my 
free  offer  to  you! 

Send  Coupon 

You  must  see  this 
wonderful  volume — 
examine  it  —  let  it 
influence  indelibly 
your  own  personal- 
ity. You  send  no 
money  with  the  cou- 
pon —  you  pay  no 
C.  O.  D.  You  get 
the  book  first.  If 
you  aren't  stirred 
and  delighted  in  the 
5-day  period,  return 
it  and  it  costs  you 
nothing.  Otherwise 
keep  it  as  your  own 
and  remit  $3  in  full 
payment.  You  are 
the  sole  judge.  You  do  not  pay  unless 
you  are  absolutely  delighted.  And  then 
only  $3. 

\'ou  simply  can't  delay.     Clip  and  mail 
the  coupon  NOW. 

Ralston  University  Press 
Dept.  9-B,  MERIDEN,  CONN. 

Dept.   9-B,   Meriden,  Conn. 

.Ml  risht — I'll  be  the  judge.  You  may  send  me 
the  volume  "Instantaneous  Personal  MaRnetism" 
for  .S  days'  FREE  E.XAM  I  NATION  in  my 
home.  Within  the  $  days  I  will  either  remit  the 
special  low  price  of  only  $3.00  or  return  the  book 
without  cost  or  obligation. 

What  Others 

'^^as  been  worth  ten 
thousand  dollars  a 

"I  regard  it  as  the 
bigtjest  and  best  invest- 
ment  a  man  could 
mal;e.  Itealized  the  ex- 
^pciiencf  of  entering  a 
*new  realm  of  life." 

"Certainly  wonderful; 
like  w^ilking  up  a  stair- 
way to  a  higher  life." 

"Have  examined 
'Personal  Magnetism' 
and  am  a.stonished  how 
dormant  my  faculties 
were  in  that  direction." 

"I  am  glad  that  I 
dared    to    buy   the 


"The  Personal  Mag- 
n  e  t  i  s  m  books  have 
raised  me  from  iKJvi-rty 
to  my  present  position." 

"I  would  not  part 
with  them  for  an^  sum 
of  money." 

"One  of  the  greatest 
books  I  have  ever  seen 
—the  greatest  in  exist- 

"Made  me  a  succes.s 
— financially,  socially' 
and    morally." 



City State. 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  M.VGAZIXE. 

Brief  Reviews  of 

Current  Pictures 

^Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 

ADORATION — First  National. — Concerning  the 

post-revolution  romance  of  a  Romanofif  prince  and 
princess.    Ornamented  by  Billie  Dove.      (Jan.) 

*AIR  CIRCUS,  THE— Fox.— Collegiate  stuff  in 
an  aviation  training  school.     Good.     (November.) 

AIR  LEGION,  THE— FBC— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  (Dec.) 

AIR  MAIL  PILOT,  THE— Superlative.— Another 
air  mail  story  which  breaks  all  the  rules  of  aviation. 

Mayer. — The  old  favorite,  revived  with  William 
Haines.     Good.     (Od.) 

amazing.  Just  the  usual  stunts,  on  land  and  in  the 
air.     (Jan.) 

ANNAPOLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  the  future.   (November.) 

AVALANCHE— Paramount.— High-class  Western 
with  Jack  Holt  and  Baclanova — the  picture  thief! 

AVENGING  RIDER,  THE— FBO.  —  Simple- 
minded  Western  mystery  story.     (Jan.) 

AWAKENING,  TITE  —  United  Artists.  —  First 
starring  picture  of  Vilma  Banky  and  Walter  Byron. 
He's  a  nice  looking  lad.  A  "Marie-Odile"  plot. 

BABY  CYCLONE,  THE  —  Metro-Goldwyn- 
Mayer. — All  right,  if  you  like  Pekinese  pups. 

BANTAM  COWBOY,  THE— FBO.— Only  good 
because  Buzz  Barton  is  in  it.     (Oct.) 

*BARKER,  THE— First  National.- Human  and 
humorous  story  of  circus  life.  With  Milton  Sills.  See 
it.      (September.) 

BATTLE  OF  THE  SEXES,  THE— United  Artists. 
— How  a  happy  home  is  wrecked  by  a  blonde. 
Sophisticated  drama.     (September.) 

BEAUTIFUL      BUT      DUMB— TifTany-Stahl.— 

Patsy  Ruth  Miller  in  gay  comedy.       (Oct.) 

BEGGARS  OF  LIFE— Paramount.— The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  (Dec.) 

♦BELLAMY  TRIAL,  THE  —  Metro-Goldwyn- 
Mayer. — Tlie  audience  is  admitted  to  the  court  room 
of  the  most  thrilling  murder  mystery  of  the  year. 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     (November.) 

BIG  HOP,  THE— Buck  Jones.— Mr.  Jones  crosses 
the  Pacific.    A  good  film.     (Oct.) 

BIG  KILLING,  THE— Paramount.— Wallace 
Beery  and  Raymond  Hatton  become  all  tangled  up 
in  a  Kentucky  feud.     (August.) 

BIT  OF  HEAVEN,  A— Excellent.— Broadway  vs. 
Park  Avenue.    A  good  performance  by  Lila  Lee.  (Oct.) 

BITTER  SWEETS— Peerless.-Fun  in  the  life  of 

a  girl  detective.    (Dec.) 

BLACK  ACE,  THE— Pathe.— So-so  Western  that 
will  fill  in  a  blank  evening.     (Jan.) 

BLACK  BUTTERFLIES— Quality.— Exposing  the 
wicked  ways  of  thi.-  fake  Bohemians.     (November.) 

BRANDED  MAN,  THE— Rayart.— The  best 
part  of  tliis  domestic  opera  is  the  titles.  Why  not  do 
your  reading  at  home?     (August.) 

BROADWAY  DADDIES  —  Columbia.— Trite 
story  but  well  acted.     (Oct.) 

BROKEN  MASK,  THE— Anchor.— Ugly  story 
of  revenge  but  well  told  and  acted.      (September.) 

BROTHERLY  LOVE  —  Metro-GoIdw>-n-Mayer. 
— Messrs.  Dane  and  Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES  —  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  role.  (Dec.) 

BURNING  GOLD— Elbee.— A  story  of  dirty 
deeds  in  the  oil  fields.     (August.) 

BURNING  THE  WIND— Universal.— One  of 
Hoot  Gibson's  lapses.    (Oct.) 

BUSHRANGER,THE— Metro-Goldwyn-Mayer.— 
Tim  McCoy  goes  to  Australia  and  plays  some  rousing 
tunes,  on  the  boomerang.      (August.) 

BUTTER  AND  EGG  MAN,  THE— First  Na- 
tional.— The  amusing  adventures  of  a  country  lad 
(Jack  Mulhall)  who  becomes  an  "angel"  on  Broad- 
way.   (August.) 

CAMERAMAN,  THE— Metro-Goldwyn-Mayer. 
— Buster  Keaton  redeems  himself  in  this  one.  Lots  of 
laughs.     (Oct.) 

CAPTAIN  CARELESS— FBO.— You'll  like  Bob 
Steele.     (Oct.) 

CAPTAIN  SWAGGER— Pathe.— Good  comedy 
in  which  Rod  La  Rocque,  as  a  naughty  aviator,  is  per- 
suasively reformed  by  Sue  Carol.     (November.) 

*CARDBOARD  LOVER,  THE— Metro-Gold wjn- 
Mayer. — Snappy  Frencli  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Asther.  Sophis- 
ticated and  charming.     (Oct.) 

CAUGHT  IN  THE  FOG— Warners.— The  plot 
gets  lost  in  the  fog,  too.     (August.) 

Pictu  res   You 
Should  Not  Miss 

"7tli  Heaven" 
"The  Singing  Fool" 
"The  Divine  Lady" 

"Mother  Knows  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 


"The  Godless  Girl" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 

CAVALIER,  THE— Tiffany-Stahl.— Richard  Tal- 
madge  in  some  imitations  of  Douglas  Fairbanks. 

CELEBRITY— Pathe.— A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Oct.) 

the  Argentine  Republic  got  that  way.  With  Francis 
X.  Bushman.  (Dec) 

CHEYENNE— First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 

CHICKEN  A  LA  KING— Fox.— More  lessons  In 
gold-digping.  Funny,  but  rough  in  spots.  With 
Nancy  Carroll  and  Ford  Sterling.     (August.) 

CIRCUS  KID,  THE— FBO.— You  can  sleep 
through  it.     (Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart — 
Story  of  wheat  pits  of  Chicago.  Top  heavy  with 
drama.     (Jan.) 

CLEARING    THE    TRAIL— Universal.— Again 

saving  the  old  ranch.      (Oct.) 

CLOUD  DODGER.  THE— Universal.— A  battle 
in  the  air  for  a  dizzy  blondel     (Oct.) 

CODE  OF  THE  AIR— Bischoff.— More  air  stuff. 
Good  adventure  story.    (Oct.) 

CODE  OF  THE  SCARLET— First  National.— 
Ken  Maynard  gets  his  man.  Good  out-door  story. 

COME  AND  GET  IT— FBO.— Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

Lots  of  propaganda.  With  such  a  live  topic,  this 
should  have  been  a  better  picture.     (Oct.) 

"COSSACKS,  THE  —  Metro-Goldwyn-Mayer.— 
Love,  sport  and  murder  among  the  cowboys  of 
Russia.    Jack  Gilbert  is  the  lure.     (August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

COWBOY  KID,  THE— Fox.— A  Western  for  the 
simple-minded.     (September.) 

♦CRAIG'S  WIFE— Pathe.— Splendid  drama  with 
Irene  Rich  as  the  too  perfect  wife.     (September.) 

CRASH,  THE — First  National. — Not  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 

CROOKS  CAN'T  WIN— FBO;— Good  celluloid 
gone  haywire.  Will  someone  please  stop  the  film 
crime  wave?    (August.) 

DANGER  STREET— FBO.— A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  way  to  forget.     (November.) 

DAWN — Herbert  Wilcox. — An  English  production 
that  gives  a  fair  and  impartial  presentation  of  the 
Edith  Cavell  case.    (.August.) 

DEMON  RIDER.  THE— Davis.— Just  a  West- 
ern.    (Dec.) 

DESERT  BRIDE,  THE  —  Columbia.  —  Betty 
Corapson,  as  a  Parisian  beauty,  raises  havoc  in  the 
Foreign  Legion.     (.August.) 

vating bunk.     (September.) 

■►DIVINE  LADY,  THE — First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     (Dec.) 

DIVINE      SINNER.      THE— Rayart.— Austrian 
drama  with  daring  but  grown-up  theme.      (Oct.) 

A  short  farce  turned  into  a  panic  by  the  appearance 
of  a  real,  live  -gorilla.     (August.) 

*D0CKS  of  new  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 

DOG  JUSTICE — FBO. — But  the  story  is  a  cruel 
injustice  to  Ranger,  the  canine  star.     (August.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 

DO  YOUR  DUTY— First  National.— Charlie 
Murray  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  (Dec.) 

DRIFTWOOD — Columbia.— Looks  like  a  tenth 
carbon  copy  of  "Sadie  Thompson."    (Jan.) 

*DRY  MARTINI— Fox.— Sophisticated  comedy 
among  the  American  dry  law  ex-patriots  of  the  RitJ 
bar  in  Paris-.     Naughty  but  neat.     (November.) 

DUGAN  OF  THE  DUGOUTS— Anchor.— Gag- 
ging the  Great  War  again.     (September.) 
[  CONTINUED  ON  PAGE   14  ) 

Photoplay  Magazine— Advertising  Section 


FIRST ALL-Talking    ^^WM 
FARCE'COAitDY/^  1^  A 



There's  a  thrill  a  minute  in 
the  action  and  a  laugh  every 
other  second  in  the  side- 
splitting dialog  written  by 
Frederick  H.  Brennan  and 
Harlan  Thompson! 

WILLIAM  FOX,  in  this  newest 
Movietone  Feature,  introduces  a 
new  technique  on  the  screen 
...  don't  miss  this  all- 
talking  farce  comedy  when 
it  conies  to  your  favorite 
motion  picture  theater! 


and  so 
does  the 
in  this 



Directed  in  dialog  by 


Charles  Eaton        Helen  TweIveD*ees        Earle  Fox        Caniiel  ITIyers 


When  you  writ©  to  acKertisera  please  mention  PHOTOPLAY  MAOAZINK 


Three  prizes 

are  given  every  month 

for  the  best  letters'^ 

$25,  $10  and  $5 



the  FANS. 

The  Monthly  Barometer 

npHE  novelty  of  the  "talkies"  has  worn  off. 
-'■  Photoplay's  readers  are  now  asking  for 
more  than  mere  sound;  they  want  the  same 
standard  of  acting,  photography,  direction  and 
settings  that  they  have  been  getting  in  the 
silent  movies.  A  large  order  for  a  new  inven- 

"Our  Dancing  Daughters"  is  the  picture  of 
the  month.  It  is  going  big  with  the  younger 
generation — and  with  the  younger  mothers 
who  share  their  children's  amusements.  On 
the  crest  of  its  popularity,  Joan  Crawford 
becomes  the  most-discussed  star  of  the  month. 

According  to  letters  received  by  Photoplay, 
John  Gilbert,  Nils  Asther  and  Gary  Cooper  are 
the  three  kings  of  the  hour,  with  Richard 
Arlen,  "Buddy"  Rogers  and  John  Mack 
Brown  running  a  close  race.  Among  the  girls, 
Clara  Bow,  Greta  Garbo  and  Colleen  Moore 
are  the  three  queens. 

Brickbats  for  underworld  melodramas! 
Enough  is  enough.  And  brickbats,  too,  for 
slapstick  comedies  and  Westerns.  But 
bouquets  for  romances,  mystery  stories  and 
stories  about  modern  young  people. 

This  is  your  department  of  criticism.  What 
have  you  to  say? 

$25.00  Letter 

New  Orleans,  La. 

I  have  lived  most  of  my  life  in  the  rural 
districts  of  a  state  that  is  notably  narrow- 
minded.  As  a  youth,  it  was  instilled  in  me 
that  moving  pictures  were  fundamentally  bad, 
that  I  was  endangering  my  immortal  soul  to 
attend  such  orgies  of  human  indecency.  So, 
of  course,  I  reached  my  late  'teens  with  the 
utmost  horror  and  distaste  for  such  forms  of 
amusement,  distaste  of  something  of  which 
I  knew  nothing,  e.xcept  from  people  who  knew 
really  less  than  myself. 

I  had  the  good  fortune  to  make  a  trip  out 
West  and,  without  guardians  or  authorities  to 
watch  me,  of  course  I  decided  to  see  one  of 
those  awful  things  called  movies.  So  one  night 
I  screwed  up  my  courage  and  timidly  walked 
up  to  the  window  of  a  theater  and  asked  for  a 
"first  row"  ticket,  thinking  I  was  doing  quite 
the  high-brow,  society  thing,  not  realizing  that 
the  general  admission  gave  me  my  choice  of 

The  picture  was  "The  Old  Nest"  and  I  shall 
never  forget  it.  During  that  two  hours  of  en- 
tertainment, I  e-xperienced  more  emotion  than 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 

I  had  during  all  the  previous  years  of  my  ex- 
istence, and  I  left  that  little  theater  sold  to 
moving  pictures.  Since  that  day  I  have  seen 
hundreds  of  pictures,  some  good  and  some  bad, 
but  I  am  still  in  love  with  them  as  the  best 
means  of  expressing  the  emotions  and  dreams 
of  the  common  folk  of  the  world.  I  am  beyond 
the  influence  of  that  country  district  in  which 
I  was  reared  and  hence  I  do  not  hear  the  con- 
demnation that  would  be  mine  if  I  stUl  resided 
there.  I  only  wish  that  those  good  folks  back 
there  could  have  brought  home  to  them  the 
wonderful  power  of  the  motion  picture. 

T.  E.  WiNBORN,  Jr. 

,00  Letter 

Homestead,  Pa. 

I  wonder  what  some  producers  think  of  the 
movie-going  public.  Or  do  they  think  of  them 
at  all?  And  why  in  the  name  of  all  that  is 
good,  bad  and  indifferent  does  the  old-fashioned 
girl  have  to  be  a  dumbbell  and  the  modern  girl 
a  damfool?  I  did  not  realize  that  the  only  dis- 
tinction between  the  antiquated  and  the 
modern  was  the  length  of  hair,  absence  of  dress, 
the  puffing  cigarette  and  the  coming  home  with 
the  milk  man. 

I  have  always  thought  that  a  modernistic 
trend  was  dependent  more  upon  progressive- 
ness,  broadness  of  vision  and  a  generous  use  of 
gray  matter.  But  I  have  made  the  discovery, 
in  the  movies,  that  all  of  my  youthful  struggles 
and  efforts  to  get  a  grip  upon  the  ladder  of  life 
are  in  vain  because — assuming  the  same  dis- 

tinction is  applied  to  the  male  sex — I  am  al- 
ready exiled  to  the  antiques  unless  I  become 
a  gin-guzzling  ninny. 

After  a  lot  of  pictures  about  so-called 
modern  youths,  is  it  any  wonder  "Our  Dancing 
Daughters"  is  such  a  success.  The  girls  are 
human;  they  have  dreams,  hopes  and  ideals. 
They  give  you  something  to  think  about.  I 
felt  as  though  I  wanted  to  grasp  the  hand  of 
Joan  Crawford  and  say,  "Well  done,  old  girl. 
You  are  doing  your  best  to  give  life  a  square 
deal."  Joseph  M.  Rhodes. 

$5.00  Letter 

Enid,  Okla. 

Photoplay  is  a  gloom-chaser.    Here's  how! 

The  scene  was  a  desolate  railway  station, 
several  miles  from  Nowhere.  The  atmosphere, 
inside  and  out,  was  damp  and  cold,  as  the  Time 
was  December  24,  1927.  The  characters  were 
ten  silent  figures  (ages  ranging  from  eighteen  to 
sixty-five),  huddled  around  a  wood  stove, 
suddenly  planted  there  because  of  the  derail- 
ment of  the  train  that  was  to  take  them  home 
for  Christmas. 

What  would  liven  up  this  group,  make  them 
forget  their  little  tragedy,  and  interest  each  of 

A  college  youth,  with  exploring  eyes,  spied  a 
gaily  decorated  magazine  beneath  the  strap  of 
a  travelling  bag,  and  with  eagerness  brought  to 
light  Photoplay.  He  was  soon  showing  the 
illustrations,  calling  forth  comments  on  each 
favorite  star,  film  criticisms,  new  develop- 
ments, etc.  One  teary-eyed  young  lady  forgot 
herself  to  the  extent  that  she  entertained  them 
by  mimicking  the  famous  stars. 

The  air  was  full  of  vital,  hiunan  interest,  for, 
truly,  they  had  found  a  universal  subject,  in- 
teresting to  everyone  at  all  times.  It  saved  the 
spirits  and  dispositions  of  the  holidayers. 
Conversation  is  not  a  lost  art  when  Photoplay 
is  the  subject.  Jackie  Dunning. 

Justice  for  Foreigners 

PhiUppine  Islands. 
I  cannot  see  why  foreign  players  should  not 
get  their  chance.  The  reason  why  the  movies 
continue  to  import  foreign  talent  is  because 
they  stand  in  need  of  something  that  they 
cannot  find  in  Hollywood,  to  supply  the  pubhc 
demand  for  new  types  of  faces  and  different 
methods  of  acting. 

Miss  Trini  De  Perez. 
[  continued  on  page  94  ] 

Photoplay  Magazine — Advertising  Section 

I  1 


^  IGuaraivteeNewHair 

in  These  Three  Places 




T^    PAY    IVff 


ARE  you  sincerely  anxious  to  be  done 
with  dandruff,  itchy  scalp,  falling 
hair  and  baldness?  Do  you  really  want 
to  grow  new  hair? 

Perhaps  you've  already  tried  hard  to 
overcome  these  afflictions.  Perhaps  you've 
put  faith  in  barbershop  "tips,"  and  used 
all  kinds  of  salves,  massages,  tonics,  all 
with  the  same  results  .  .  .  lots  of  trouble 
and  expense  but  no  relief! 

Now,  consider  what  /  offer  you.  And 
figure  out  for  yourself  what  a  handsome 
proposition  it  is.  I  GUARANTEE  to 
grow  new  hair  on  your  head — on  the  top, 
front  or  temples — IN  30  DAYS  ...  or 
not  one  red  penny  of  cost  to  you. 

Isn't  that  a  different  story  from  those  you've 
heard  before?  I  don't  say,  "try  my  wonderful 
remedy — it  grows  hair!"  I  say,  and  I  put  it  in 
•writing,  "I  GUARANTEE  to  grow  hair  ...  or 
no  cost!" 

My  Method  Is  Unique! 

Naturally,  you  say  to  yourself,  "How  can  any- 
one make  such  a  guarantee?  It's  hard  to  grow 
hair.  I  know,  for  I've  tried  a  lot  of  things  and 

Ah,  that's  exactly  the  reason  thousands  who 
formerly  suffered  from  scalp  troubles  bless  the 
day  they  heard  of  me.  For  my  treatment  is  based 
on  science,  on  years  and  years  of  research.  I  studied 
scalps,  not  how  to  sell  treatments.  And  I  found, 
as  did  leading  dermatologists,  that  ordinary  surface 
treatments  of  the  scalp  are  futile.  Baldness  begins 
at  the  ROOTS.  If  roots  are  dead,  nothing  can  grow 
new  hair.  But  in  most  cases,  roots  are  only  sleepitig, 
waiting  for  the  right  treatment  to  bring  them  back 
to  healthy,  normal  life. 

I  Reach  the  Roots 

Now,  I  leave  it  to  you.  How  can  ordinary  treat- 
ments penetrate  to  the  roots  of  your  hair?  How  can 
ordinary  tonics  or  salves  remove  the  real  cause  of 

My  treatment  goes  below  the  scalp,  right  down 
to  the  hair  roots,  awakening  them  to  new  action. 
My  treatment  works  surely  and  quickly,  all  the 
while  stimulating  the  tiny  blood  vessels  around  the 
roots  to  new  life  and  action.  And  with  just  the 
mere  investment  of  a  few  minutes  a  day,  thousands 
get  these  results  from  my  treatment  ...  or  they 
never  pay  a  cent ! 


ITere  tliinniiiK  hair  does  great- 
est dania;;r  tn  your  appear- 
ance. Dnn't  wait  till  forelock 
disappears  cntirelv.  ACT 
NOW    to  foiej-taU   baldnessl 


Most  baldness  begins  here. 
Is  this  YOT'R  thinnest  spot? 
Decide  today  to  net  that  hair 
hack  and   MOREl 


Thinner  and  thinner  on  each  side 
until  tht-y  meet  and  forelock  too 
aoL's.  Danthuir  and  itchy  scalp 
art-  I'oriuniin  In  rli^  sc  cases.  Whv 
Miller  a  Iilrlime  ot  ic;;i-cty  ^lAiL 


I  Welcome  Investigation 

Do  you  want  absolute  proof  of  the  true 
causes  and  proper  treatment  of  baldness? 
Consult  your  family  physician.  Or  look 
up  medical  reference  books. 

Do  you  want  positive  proof  that  I  can 
and  do  apply  these  accepted  scientific 
principles?  I  offer  you  the  best  proof  of 
all  .  .  .  my  personal  guarantee,  backed 
up  by  the  Merke  Institute,  Fifth  Avenue, 
New  York. 

A  Square  Deal  Guaranteed! 
Others    may    make    rosy    but    flimsy    promises. 
I  could  do   that  tool      But  I  don't.     I   couldn't 
afford    to.    for   every   statement    I    make    is  guar- 
anteed   by    the    Merke    Institute.       This 
scalp     research     bureau,     established     13 
years,  is  known  to  thousands  from  Coast 
to   Coast.      It   has   a   reputation    to   keep 
up.      It   \youldn't   dare   to   back   me  if  I 
didn't    tell    the   truth.     So   when   I   guar- 
antee   to   grow    hair    or    not   a   penny   of 
cost,   you're  absolutely   sure  of  a   square 

Why  Suffer  Years  of  Regret? 

Before  }ou  turn  this  page  take  a 
look  in  the  mirror  at  those  thin  spots 
on  your  head!  Think  how  you'll  look 
when  {i/l  \nur  hair  is  gone.  Consider 
how  much  prestige  and  attractiveness 
you'll  lose,  'Then  decide  to  act  al  once! 
Right  now.  tear  out  the  coupon  shown 
below  and  mail  it  in  for  the  FREE 
booklet  giving  my  complete  story.  In 
it  you'll  find,  not  mere  theories,  but 
scientific  FACTS,  and  the  details  of 
my  "hair  grown  or  no  pay"  offer. 
My  treatment  can  be  u^ed  in  any 
home  where  there  is  electricity.  Send 
the  coupon  XOW!  And  by  return 
mail  the  booklet  is  yours  without  the 
slightest  obligation.  Allied  Merke 
Institutes,  Inc..  Dept.  392.  512 
Fifth   Avenue,   New   York   City. 

DANGER:  One,  two,  thrct — BATJJt  And 
perhaps  total  baldness,  say  lending  dermatolo- 
yists,  if  you  Hf elect  any  one  of  the  three 
places  shown  above.  But  so  (n'a dually  does 
hair  deimrt.  so  insidiously  does  baldness  creep 
up  on  the  averaKc  man,  thai  thousjinds  fail  tn 
heed  the  warniUKs.  But  there  is  hope  for 
everyone,  no  matter  how  thin  tlie  hair.  Head 
my  messaite  to  men  Krowing  bald.  Study  my 
t-uarantce.      Then    ACT! 

Allied    Merke    Institutes,    Inc.. 

Dept.   392.    512    Fifth    Ave..    New   York   City. 

rieasL-  >end  me — without  cost  or  obhcation 
—in  r'iain  wrapper,  copy  of  your  book.  "The 
New  Way  to  Orow  Hair,"  describing  the 
Merke   System. 


(My   age   is. 

When  you  write  to  advcrtisera  please  mention  PHOTOPLAY  MAOAZINB. 


Photoplay  Magazine — Advertising  Section 

See  a«c^  Hear. 


Supreme  Dramatic  Triumph 


in'NDAHS  AkK" 


Mightiest  entertainment  achieve- 
ment since  the  birth  of  Motion 
Pictures!  Awe-inspiring — heart- 
gripping — unprecedented!  See  and 
hear  "NOAH'S  ARK" 


Given  to  theWorld  by  WarnehBhos. 

Vitaphone  is  a  scientific  achievement — farTeaching  in  its 
influence  on  the  human  family.  It  immeasurably  widens  the 
sphere  of  knowledge  and  enjoyment.  Brings  the  whole 
world  of  SOVND  and  ACTION  to  all  people  everywhere. 

Through  Vitaphone,  the  foremost  entertainers  of  the  age 
re-live  before  you  —  they  act,  talk,  sing  and  play — like 
human  beings  in  the  flesh! 

Remember — Warner  Bros,  pioneered  the  talking  picture. 
Warner  Bros,  perfected  the  talking  picture.  Warner  Bros. 
Vitaphone  has  PROVED  its  nation'wide  success  and  tri' 
umph  in  hundreds  of  leading  theatres  from  Coast  to  Coast. 

Make  no  mistake.  See  and  hear  Warner  Bros.  Vitaphone.  It 
will  confirm  your  conviction  that  here  at  last  is  the  life' 
like  talking  picture — the  marvel  of  this  marvelous  age. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 




Two  good  recipes  for 

cakes  which  will  add 

a  festive  touch  to  your 


THE  recipe  I  have  selected  from  Photoplay's  Cook  Book 
this  month  is  an  ideal  dessert  for  Valentine  luncheons 
or  afternoon  parties. 

It  is  a  sweet  strawberry  cake  and  Sue  Carol  contributed  the 
recipe  to  the  Cook  Book. 

If  strawberries  in  February  sound  like  an  extravagance, 
you  may  substitute  canned  strawberries,  which  are  often 
better  than  the  early  fresh  berries.  This  recipe  is  noi  a  short- 
cake and  it  is  not  expensive  to  make. 

Take  one  cupful  of  sugar,  sifted,  and  one  large  tablespoon 
of  butter  and  cream  together  until  smooth.  Beat  three  eggs 
very  light  and  add.  Mix  in  ?|  cup  of  milk.  Then  sift  together 
two  cups  of  flour — scant  measurement — and  a  heaping  table- 
spoon of  baking  powder,  and  add  to  the  dough.  Bake  in  deep 
tin  plates  or  pie  pans  which  have  been  buttered.  This  quantity 
will  fill  three  or  four  plates. 

For  the  filling,  mash  three  pints  of  strawberries  with  a  cup  of 
sugar  and  spread  the  fruit  between  the  layers  of  the  cake.  To 
give  the  cake  a  Valentine  appearance,  save  out  some  of  the 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 
Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 

A  girl  with  a  heart — Leila  Hyams  dresses  up  as  her 
idea  of  an  old-fashioned  Valentine 

largest  and  finest  of  the  berries  and  cover  the  top  of  the  cake 
with  a  meringue  made  of  the  white  of  an  egg,  beaten  very  stiff, 
mixed  with  a  tablespoon  of  powdered  sugar. 

Then  arrange  the  berries  in  the  outline  of  a  heart  on  the 

Or,  if  you  prefer,  you  may  cover  the  cake  with  whipped 
cream,  to  which  has  been  added  a  tablespoon  of  sugar.  If  you 
use  the  preserved  berries,  you  may  decorate  the  meringue  with 
candied  berries  or  red  candy  hearts. 

IF  you  want  to  serve  individual  cakes  which  may  be  made  in 
heart-shape  tins,  you  will  find  something  different  in  Patsy 
Ruth  Miller's  recipe  for  Date  Torte. 

Here  is  Miss  Miller's  contribution  to  the  Photoplay  Cook 

2  eggs 

1}4  cup  sugar 

3  tablespoons  bread  crumbs 

V^  teaspoon  baking  powder 
J^  package  of  dates 
1  cup  nut  meats 

Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 

Beat  the  eggs  slightly  and  add  the  sugar  sifted  together  with 
the  baking  powder.  Stir  in  the  bread  crumbs,  which  should  be 
dry  and  fine.  Mix  well.  Add  the  dates,  which  have  been 
stoned,  and  then  the  nut  meats.  Place  in  greased  muffin  tins 
and  bake  in  a  slow  oven  for  thirty  or  forty  minutes.  Serve 
them  with  whipped  cream. 

You  will  notice,  of  course,  that  for  a  sweet,  this  is  not  par- 
ticularly fattening,  and  the  presence  of  the  dates  and  nut 
meats  gives  this  recipe  good  food  value. 

Of  course,  you  will  find  more  delicious  recipes  for  parties 
among  the  one  hundred  and  fifty  favorite  dishes  of  the  stars 
in  Photoplay's  Cook  Book.  .\nd  you  may  have  them  all  by 
filling  out  the  coupon  and  sending  twenty-five  cents.  You  will 
find  the  book  a  valuable  addition  to  your  Cook  Book  shelf  and 
a  convenient  friend  to  have  in  the  house  when  you  want  to 
serve  something  distinctive  and  different  for  your  friends. 

Carolyn  Van  Wyck. 


Photoplay  Magazine — Advertising  Section 





Fashion  decrees  that  the  figure  be 
slender  and  graceful.  Women  who  are 
fat  in  spots — in  the  abdomen,  hips, 
throat,  underarm,  or  elsewhere — need 
no  longer  worry! 

Simply  use  the  wonderful  Frances 
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The  Frances  Jordan  stimulates  the 
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tones  up  the  nerves. 

This  remarkable  Frances  Jordan 
originally  sold  for  $15.00.  Very  large 
sales  now  permit  us  to  sell  direct  to  you 
for  $5.00.  Act  today!  Send  $5.00  in 
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money  refunded. 


Frances  Jordan,  Inc. 

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::  x  :V:o(;;4luJ^iij;s  Jc0)^^ 

Pariogen.  the  harmless  antiseptic  tablet  which 
requires  NO  WATER,  or  the  usual  accessories, 
makes  feminine  hygiene  convenient  anytime  or 
anywhere,  Pariogen  contains  no  carbolic  acid, 
bichloride  of  mercury  or  other  caustic  poisons, 
yet  KILLS  the  most  PERNICIOUS  GERMS 
in  a  few  seconds.  Prescribed  by  Physicians,  Par- 
iogen tablets  come  12  in  a  tube  for  $1.00.  If  your 
druggist  is  unable tosupply  you,  send  your  name 
and  address  with  a  dollar  bill.  A  fuU  size  tube 
will  be  sent  with  the  absolute  guarantee  that  if 
you  simply  write  and  say  "not  satisfied**  your 
dollar  bill  will  come  back  in  the  return  mail. 

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You  can  obtain  the  next  six  numbers 
of  Photoplay  Magazine,  delivered  to 
you  by  the  postman  anywhere  in  the 
U.  S.  (Canada  $1.50,  Foreign  $1.75.) 
This  special  offer  is  made  as  a  trial  sub- 
scription. Also  it  will  avoid  the  old 
story  of  "Sold  Out,"  if  you  happen  to 
be  a  little  late  at  the  news-stand.  Send 
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750  N.  Michigan  Ave-  CHICAGO 

Brief  Reviews  of  Current  Pictures 


DUTY'S  REWARD— Elbee.— More  cops,  crooked 
politics,  etc.    {Dec.) 

What  the  Soviet  wants  >'0U  to  believe.  St.  Peters- 
burg destroyed  by  trick  camera  angles.     (August,) 

EXCESS  BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid  and  realistic  picture  of  stage  life.  See  it. 

FAMILY    PICNIC,     THE  — Fox- Movietone.— 

Pioneer  all-talking  comedy.     See  it  and  write  your 
own  remedy.     (September.) 

FANGS  OF  FATE— Pathe.— Klondike,  the  dog 
growls  through  an  old  story.     (September.) 

FAZIL — Fox. — Proving  the  sheiks  make  bad 
husbands.  Torrid  necking  in  the  desert.  Not  for 
the  kindergarten  class.     (August.) 

ton eats  up  the  Western  scenery.     (September.) 

FIRST  KISS,  THE— Paramount.— Young  love, 
played  by  Fay  Wray  and  Gary  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN,  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 

FLEETWING— Fox.— A  story  of  Araby,  a  girl, 
a  sheik  and  a  horse.     (September.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     ( Dec.) 

♦FORGOTTEN  FACES— Paramount.— Under- 
world story  of  regeneration  and  sacrifice.  Fine  story, 
fine  acting,  and  100  per  cent  entertainment.    (Sept.) 

*FOUR  DEVILS— Fox.— Dramatic  and  beautifully 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Ctiarles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

*FOURWALLS— Metro-Goldwyn-Mayer.— Story 
of  Jewish  gangster,  splendidly  played  by  John  Gilbert. 
Don't  miss  it.      (September.) 

FURY  OF  THE  WILD— FBO.— More  real  meat 
for  Ranger.     (November.) 

GANG  WAR— FBO.— Yep,  bootleggers  and  crooks 
again.     (September.) 

GATE  CRASHER,  THE— Universal.— Glenn  Try- 
on  in  a  hit-and-miss  comedy.     (September .) 

GEORGE  BERNARD  SHAW— Fox-Movietone.— 
Mr.  Shaw  entertains  his  public  with  an  imitation  of 
Mussolini.    It's  a  wow.     (September.) 

GERALDINE — Pathe. — Light  and  amusing  com- 
edy with  Marion  Nixon  and  Eddie  Quillan.    (Jan.) 

GIRL  HE  DIDN'T  BUY,  THE— Peerless.— Light 
story  of  a  Broadway  love  affair  with  an  original  twist 
to  the  plot.     (August.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 

little  slow  but  pleasant  enough.     Sally  O'Neil  wears 
her  one  expression.     (Dec.) 


see  the  picture  for  the  plot. 

-Peerless. — You 


GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    (Nov.) 

GREASED  LIGHTNING  —  Universal.  —  Dumb 
Western.     (September.) 

GREEN    GRASS   WIDOWS— Tiffany-Stahl.    — 

Walter  Hagen  in  a  goofy  golf  story.    He  should  know 
better.     (September.) 

GUARDIANS  OF  THE  WILD— Universal.— 
Too  bad  that  Rex,  the  wonder  horse,  can't  write  his 
own  stories  and  put  some  horse-sense  into  them. 

GYPSY  OF  THE  NORTH— Rayart.— A  better 
than  usual  melodrama  of  the  Northern  mining 
camps.    (August.) 

HALF  A  BRIDE— Paramount.— Wherein  a  bride 
is  cast  away  on  a  desert  island  with  the  wrong  man. 


HANGMAN'S  HOUSE— Fox.— A  good  drama  of 
Ireland,  with  some  splendid  backgrounds,  a  fine 
horse  race  and  an  excellent  performance  by  Victor 
McLaglen.    (August.) 

HAPPINESS  AHEAD— First  National.— What 
might  have  been  merely  tawdry  melodrama  is  turned 
into  fine  entertainment  by  the  splendid  acting  of 
Colleen  Moore,  Edmund  Lowe  and  Lilyan  Tash- 
man.    (August.) 

HARVEST  OF  HATE,  THE— Universal.— In 
which  the  great  talents  of  Rex,  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

HAUNTED  HOUSE,  THE— First  National.— 
Too  much  Chester  Conklin  and  not  enough  mystery. 

HEAD  MAN,  THE— First  National.— What 
happened  in  a  small  town  when  the  Ladies' Auxiliary 
drank  too  much  lemonade.     (August.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.      (Jan.) 

[  CONTINUED  ON  PAGE   118  1 

Photoplays  Reviewed  in  the   Shadow   Stage   This  Issue 

Save  this  magazine — Refer  to  the  criticisms  before  you  pic\  out 
your  evenings  entertainment.     Ma\e  this  your  reference  list. 


A  Lady  of  Chance— M.-G.-M 76 

A  Man's  Man— M.-G.-M 104 

Apache,  The — Columbia 104 

Behind  the  German  Lines — UFA-Para- 

mount 76 

Black  Birds  of  Fiji — Australasian 76 

Blow  for  Blow — Universal 104 

Canary  Murder  Case,  The — Paramount  54 

Captain  Lash — Fo.x 56 

Case  of  Lena  Smith,  The — Paramount.   54 

Domestic  Meddlers— Tiffany-Stahl 104 

Dream  of  Love — M.-G.-M 56 

Eva  and  the  Grasshopper — UFA 103 

Flyin'  Buckaroo,  The — Pathe 103 

Flying  Fleet,  The— M.-G.-M 52 

Ghost  Talks,  The— Fox 56 

Gun  Runner,  The— Tiffany-Stahl 104 

House  6f  Shame,  The — Chesterfield. ...   76 

Huntingtower — Paramount 104 

In  Old  Arizona — Fox 52 

Iron  Mask,  The — United  Artists 53 

Jazz  Age,  The— FBO 103 

Jeanne    D'Arc — Societe    Generale    de 

Films 52 

Lady  of  the  Pavements — United  Artists  55 

Last  Warning,  The — Universal 76 

Linda — Mrs.  Wallace  Reid  Production.   76 

Lion's  Roar,  The — Educational 56 

Lookout  Girl,  The— Quality 104 

Marquis  Preferred — Paramount 76 

MataHari;  The  Red  Dancer — Nation- 
al-Big Three  Production 76 

Naughty  Duchess,  The — Tiffany-Stahl .   76 

Noisy  Neighbors — Pathe 104 

Office  Scandal,  The— Pathe 104 

One  Man  Dog,  The— FBO 103 

Pace  That  Kills,  The— True  Life 76 

Phipps— M.-G.-M 56 

Rainbow,  The— Tiffany-Stahl 104 

Redskin — Paramount 55 

Restless  Youth — Columbia 103 

Seven  Footprints  to  Satan — First  Na- 
tional    76 

Shady  Lady,  The— Pathe 55 

Shopworn  Angel,  The — Paramount. .  .    103 

Silent  Sentinel,  The — Chesterfield 76 

Small  Town  Sinners — Hugo  Brahn ....  104 

Somme,  The — New  Era 103 

Speed  Classic,  The — Excellent 103 

Stool  Pigeon — Columbia 104 

Synthetic  Sin — First  National 55 

That  Party  in  Person — Paramount. ...   56 

Three  Week-ends — Paramount 55 

Tracked— FBO 76 

Tyrant  of  Red  Gulch— FBO 76 

Uneasy  Money — Fox-Europa 76 

Veiled  Woman,  The — Fox 76 

Wages  of  Conscience — Superlative 76 

What  a  Night — Paramount 76 

Wolf  of  Wall  Street,  The— Paramount . .   55 

Every  advertisement  In  PHOTOrLAT  MAGAZINE  is  guaranteed. 

Photoplay  Magazine — Advertising  Section 



New  York  has  a  new  thrill 

.  You'll  have  it  soon! 


Twice  a  day— every  day— at  S2.00  per  seat, 
BARKER"  is  making  film  history. 

As  one  man  twenty  famous  critics  declared —"The  picture 
ii.there!"  .  .  . 

And  since  then  Broadway's  been  a  one-way  street— all 
Manhattan  headed  for  this  First  National  Special  from  a 
famous  stage-hit. 

'''Have  your  money  ready"  the  day  it  plays  your  town! 

brcadwai^  sends  you  iff  laiesi^loosensaMcn- 

ir[h<e  l&y^lRIKIEIR 


".And  when  she  dances,  folke.  she 
DiakcB  old  men  young  and  young 
mm  old.  She's  ju&t  one  of  the 
scores  of  big  feature  atlrarlions 
of  the  Carnival  . .  .You  can't  afford 
loiiniHS  it.  folks!  — VOU  CANT 
VFfORH  T"i  MI^S  IT!  ' 

In  New  York  »  In  Los  Angeles 

Every  Paper  —  Every  Critic 

joined  in  iiiis 


Marvelous  job 


One  of  the  year's  win- 

Pleasure  to  watch 

Quite  credibly  tougl 

Real  thing 

Sizzling  entertain- 

The  picture  is  there! 

Uniformly  high  merit 


Wholly  intriguing 

Acting  marvelous 

Best  since  "The  Sea 

Completely  engros- 




Gets"  you 

House  in  uproars 

Intensely  interesting 

Joy  to  behold 

Knockout  cast 

Loud  praises 

GEORGE    FITZM.%VRICE    Produolion 

From  the  play  by  Kenyan  ?iichotion.  Slage  Pnxluc- 

lion  by  Chariei  L  Wagner.  Adaplation  by  Benjamin 

Clazer.  Presented  by  KiLhard  A.  RosKtand, 


hired  another  wo- 
man lo  win  the  Love 
of  the  man  she  fear- 
ed! You'll  gasp  at 
the  strange  secret 
drama  that  seethes 
sinisterly  behind 
the  gaudy  glamor  of 
the  Midway.  "Be- 
hind-the-tent  stuff 
is  the  intimate  sort 
that  'gets'  you,"  said 
Pi.  y.  Daily  News. 


Evening    World! 

Broadway" — said 

When  you  write  to  advertisers  ricaso  mention  pnoTOPLAT  MAGAZINE. 

Even  the  prettiest  girl  will 
look  plain  if  she  thinks  of 
herself  as  an  ugly  duckling 
— and  doesn't  try  to  do  any- 
thing about  it.  As  witness 
Marion  Nixon  in  "Geral- 
dine,"  before  she  learns  to 
cultivate    her    good    points 





Van  Wyck 




The  result  of  the  threeC's — 
clothes,  care  and  cosmetics. 
And  there  is  no  reason, 
these  days,  why  any  girl 
can't  have  wavy  hair  and  a 
good  complexion.  Being  at- 
tractive, after  all,  is  merely 
a  matter  of  common  sense 

I  suppose  a  sensible  person  would  say 
that  I  haven't  any  right  to  bother  you! 
A  sensible  person  would  say  that  I  haven't  any 
problem  at  all.  For  I'm  healthy,  and  I  have  a 
good  brain,  and  I  have  a  job  (I'm  a  private 
secretary)  that's  above  the  average. 

But,  oh,  Carolyn  Van  Wyck — who  expects 
a  girl  of  twenty-one  to  be  sensible?  And  I'm 
twenty-one — and,  to  me,  my  case  seems  seri- 

You  see,  Miss  Van  Wyck,  I'm  plain.  Not 
ugly,  not  the  sort  of  a  person  to  inspire  con- 
tempt or  distaste — just  the  sort  of  person  who 
doesn't  register!  In  an  office  crowded  with 
eligible  men,  I  pass  unnoticed.  I  lunch  by 
myself,  I'm  never  escorted  to  my  home — I'm 
never  asked  to  go  to  a  theater  or  a  night  club. 
Nobody  even  tries  to  kiss  me  in  a  dark  corner. 
Perhaps  none  of  the  corners,  in  our  office,  are 
dark  enough! 

My  hair — it  is  nondescript  in  shade,  and  as 
straight  as  the  proverbial  stick.  My  eyes  are 
not  bad  (they're  my  best  feature)  but  the 
blue  grey  of  them  is  spoiled  by  a  sandy  fringe  of 
lashes.  What  if  the  lashes  are  thick?  Nobody'd 
know,  from  their  color,  that  I  had  any.  My 
mouth — like  my  lashes — is  too  pale.  And  my 
skin  adds  to  the  generally  drab  effect. 

I  don't  know  why  my  shoulders  droop  more 
than  the  shoulders  of  other  girls — why  my 
hps  curve  down  instead  of  up.  And  I  don't 
know  what's  wrong  with  my  figure.  Plenty 
of  popular  girls  are  as  thin  as  I — and  they're 
called  slender,  whereas  I'm  labeled  "Skinny." 

Oh,  I'm  as  unattractive  as  they  come! 
That's  my  problem,  Carolyn  Van  Wyck.  And 
I'm  lonely  for  the  hfe  and  fun  and  romance 
that  belong  to  a  girl  of  my  age.  And  my  un- 
attractiveness  is  keeping  the  life  and  fun  and 
romance  away  from  me!  I've  never  had  a 
beau — not  one.  Probably  when  I'm  forty-one 
I'll  be  telling  the  same  story. 

I  don't  suppose  you  can  help  me.  Miss  Van 
Wyck.     But  if  you  only  could ! 

Dora  L. 

DORA,  Dora!  I  wonder  if  you  realize  how 
much  I — or  any  other  sensible  woman  with 
a  word  of  advice  to  offer — can  help  you?  I 
wonder  if  you  realize  that  it  is  the  essentially 
sensible  person  who  would  most  readily  agree 
with  you  that  you  have  a  problem — and  would 
help  you  to  solve  it! 


For  being  attractive,  these  days,  is  a  matter 
of  common  sense.    It's  foolish  to  be  plain. 

I  wish  that  you  had  been  with  me,  a  few 
nights  ago,  when  I  went  to  my  favorite  picture 
theater  and  saw  there  Marion  Ni.xon  in 
"Geraldine. "  It's  a  picture  that  you  ought  to 
see,  Dora;  it  might  give  you  some  ideas.  For 
it  tells  the  ugly  duckling  story  in  a  new  way. 
Geraldine  isn't  a  pretty  girl  in  the  beginning  of 
the  picture — you  can  judge  for  yourself  from 
the  portrait  that's  printed  on  this  page.  But 
at  the  end  of  the  story — well,  we've  printed  a 
second  picture!  Look  at  that,  and  make  your 
own  decision ! 

How  to  Look  Better 
Than  You  Really  Are 

Is  This  Month's  Problem 

HTHERE'S  no  girl,  no  matter  how 
lovely  she  may  be,  who  couldn't 
look  better.  Cleopatra  would  have 
been  improved  if  she  could  have  wan- 
dered through  the  mazes  of  a  modern 
beauty  shop — Helen  of  Troy  would 
have  thrilled  to,  and  profited  by,  a 
cosmetic  counter! 

Perhaps  I  can  help  you  to  look  bet- 
ter. Perhaps  the  advice  that  I  can  give 
will  put  you  a  step  farther  on  the  ladder 
that  reaches  toward  charm  and  social 
success.  Doubtless  you  can  work  out 
your  own  problem  —  be  it  health, 
happiness  or  beauty.  But  remember, 
if  you  can  not,  that  letters  sent  to  me — • 
letters  enclosing  stamped  envelopes — 
will  be  answered  immediately.  And 
that  those  without  postage  will  be  an- 
swered in  the  magazine,  as  soon  as  pub- 
lication dates  permit. 

Complexion?  Is  your  problerai  a 
facial  one?  If  so,  send  a  stamped  en- 
velope and  you  will  receive  informa- 
tion regarding  the  care  of  the  skin.  For 
ten  cents  you  will  receive  miy  booklet 
on  safe  and  sane  reducing  methods. 
Write  to  me  in  care  of  PHOTOPLAY 
Magazine,  221  West  57th  Street,  New 

A  marcel,  a  facial,  a  little  carefully  applied 
make-up.    They  have  done  a  lot  for  Geraldine. 

Look  at  yourself  in  the  mirror,  Dora.  And 
ask  yourself  what  they  can  do  for  you! 

Your  hair — for  instance.  It  sounds  like  the 
sort  of  hair  that  a  permanent  wave  would  help 
mightily.  And,  incidentally,  a  good  permanent 
tends  to  make  the  hair  seem  more  colorful  and 
alive — as  well  as  much  more  curly.  And  your 
eyes — make  the  most  of  them  by  using  mas- 
cara and  an  eyebrow  pencil  on  those  sandy, 
but  luckily,  thick  lashes.  You'll  not  have  to 
look  theatrical — lashes  and  brows  can  be 
darkened  cleverly  and  naturally.  The  pale 
mouth  will  glow  under  the  touch  of  a  lipstick. 
Try  the  lipstick  color  on  the  back  of  your 
hand  to  get  the  tint  that  best  blends  with 
your  skin.  And,  speaking  of  skin — how  about 
a  touch  of  rouge?  Just  a  touch — for  too  pink 
cheeks  are  not  smart  nowadays. 

I  can  tell  you,  Dora,  why  your  shoulders 
droop — why  your  mouth  goes  down.  It's  be- 
cause you  have  an  inferiority  complex.  You 
know  that  you're  clever — and  yet  you  are 
ready  to  admit  defeat  in  a  game  at  which  many 
far  from  clever  girls  excel.  You're  ready  to 
say  that  you  are  a  social  failure — to  tell  the 
world  that  men  have  no  interest  in  you. 

TT'S  stupid — it's  Victorian — to  think  that  a 
-•-plain  girl  can  not  be  made  into  a  nearly  pretty 
girl.  Or — for  that  matter — into  a  more  than 
pretty  girl!  A  plain  girl — if  she  has  brains — if 
she  will  consider  herself  as  an  indi\'idual  rather 
than  as  a  member  of  an  undesired  group — can 
do  wonders  with  herself.  Indi\-iduality  and 
personality  can  spell  popularity  in  letters  a 
foot  high.    They  can  go  beyond  beauty. 

Clothes,  nowadays,  are  far  from  standard- 
ized. The  stout  girl  can  find  styles  that  make 
her  seem  slender — the  slim  girl,  even  though 
she's  as  thin,  Dora,  as  you  are — can  wear 
picture  frocks  that  give  curves  where  only 
angles  have  grown.  Materials  and  colors  make 
a  vast  difference,  too.    Remember  that. 

I've  never  seen  a  girl  in  my  life,  Dora — 
(and  my  life  is  lived  in  a  great  city,  in  which 
there  are  all  kinds  and  varieties  of  girls) — 
who  couldn't  be  improved  upon.  And,  usually, 
by  simple  things.  By  making  use  of  the  three 
little  c's — ^clothes,  care  and  cosmetics.  The 
three  little  c's  that — taken  together — make  the 
capital  C  that  is  called  Charm. 

[  CONTINUED  ON  PAGE  92  ] 

Photoplay  Magazine — Advertising  Section 





A  Jack  Conway  Production 

From  the  play  by 

Paul  Armstrong 

Adaptation  by  A.  P.  Younger 

Continuity  by 

Sara  Y.  Mason 

Titles  by  Joe  Farnham 

fiJ    II 





Slowly  .  .  .  silently  .  .  .  ominously  .  .  .  the  great  steel 
door  swung  shut,  locking  within  that  airless  vault  a 
helpless  little  child — the  sister  of  the  girl  he  loved. . . 

He  had  endured  the  third  degree — could  he  stand 
that  pitiful  appeal?  To  "crack"  the  safe  was  a  con- 
fession— not  to,  was  —  murder!  What  did  "Jimmy 
Valentine"  decide? 

It's  an  evening  you'll  remember  all  your  life.  A 
smash   hit  on   Broadway  at  $2  admission     .    .    . 

acclaimed  the  perfected  dia- 
logue accompaniment.  You'll 
have  all  the  same  thrills 
when  your  local  theatre  shows 
this  record-breaking  Metro- 
Goldwyn-Mayer  film,'  either 
silent  or  with  dialogue. 




"More  stars  than  there  are  in  Heaven" 



It's  in  our  safe — $501 

Have  you  the  right  combination? 

Answer  these  simple  questions 

and  win  the  prize! 

Come  all  you  safe-crackers  with  bright  ideas! 
There's  $50  and  a  valuable  prize  waiting  for 
you  in  the  M-G-M  safe!  The  best  set  of  answers 
to  these  five  questions  turns  the  trick.  Read 
the  rules  below  and  send  in  your  safe-cracking 

To  the  man  winning  the  contest,  William 
Haines  will  give  $50.00  and  the  electric  flash 
lamp  he  uses  in  "Alias  Jimmy  Valentine".  To 
the  woman,  Leila  Hyams  will  send  $50.00  and 
the  beautiful  handbag  she  carries  in  the  same 
picture.  The  next  fifty  lucky  ones  will  receive 
my  favorite  photograph  specially  autographed  by 
Yours  cordially 

1 — Name  the  six  popular  young  players  who 
appear  in  "Our  Dancing  Daughters." 

2 — Which  do  you  prefer — Sound  or  Silent 
movies?  Give  your  reasons  within  75  words, 

3 — What  popular  murder  story  listed  as  a  best 
seller  novel  and  serial  story  last  year  has 
been  made  into  a  talking  picture  by  M-G-M? 

4 — Name  the  Indian  Chief  in  an  M-G-M 
western  who  posed  for  the  head  on  the 
Buffalo  nickel. 

5 — Who  is  directing  the  first  all  Negro  feature 
planned  as  an  epic  production  of  the  col- 
ored race? 

Write  your  answers  on  one  side  of  a  single  slieet  of  paper 
and  mail  to  3rd  Floor,  1^40  Broadway,  Neiv  York. 
All  answets  must  be  received  by  Februar>'  15th.  Winners* 
names  will  be  published  in  a  later  issue  of  this  magazine. 

Note: — If  you  do  not  attend  the  pictures  yourself  you 

may   question   yout   friends   or   consult    motion    picture 

ma^aiines.  In  event  of  tics,  each  tying  contestant  will  be 

awatdcd  a  prize  identical  in  chatacter  with  that  tied  for. 

Winners  of 

The  William  Haines  Contest  of  October 

Mr.  A.  Humphrey  Mrs.  John  Maloney 

Redwood  City,  California      Racine,  Wisconsin 

It's  Great  vAth  Dialogue  or  Silent! 

When  jou  m-lte  to  adverUscrs  please  mention  PHOTOPLAY  MAOAZINH. 

Photoplay  Magazine — Advertisino  Sec  i  ion 







— because,  as  the  most  brilliant  of  America's 
younger  novelists,  he  was  the  first  to  discover 
and  portray  an  enchanting  new  type  of  American 
girl.  Because,  at  the  age  of  23.  he  woke  up  to 
find  himself  famous  as  the  author  of  "This  Side 
of  Paradise."  Because  no  other  man  of  his  time 
writes  so  sympathetically,  skilfully,  and  fascinat- 
ingly about  women. 


— because,  being  a  member  ot 
the  most  distinguished  theatrical 
family  in  America,  he  has  been 
associated  with  the  most  beau- 
tiful women  in  the  arts.  Because 
in  his  choice  of  motion  picture 
heroines  he  has  set  a  new — and 
different — standard  of  feminine 
loveliness.  Because  he  is  him- 
self the  most  romantic  figure  on 
the  stage  today. 


— because  he  is  the  fourth  Cornelius  Vander- 
bilt  in  one  of  America's  oldest  and  most 
distinguished  families.  Because  he  has  struck 
out  for  himself  and  achieved  an  independent 
career,  and  as  a  journalist  is  familiar  with 
people  everywhere.  Because  he  has  driven 
across  America  twenty-three  times  and  his 
hobby  is  remote  places  and  interesting  types. 

'&s  clioos&  tko 

TWELVE      MOST     BEAUTIFUL      W  O  M  E  IM 

iis'utcj  ^^Woodmrfj   (Jucicil  ^odp 

Who  are  ther^'a/ Woodbury  beau  ties? 

Hundreds  of  women  have  written 
us  every  year  that  they  owe  the  fine, 
clear  beauty  of  their  skin  to  faithful 
use  of  this  famous  complexion  soap. 
But  we  longed  to  meet  them  face 
to  face! 

So  we  called  on  them — in  big  cities, 
in  little  villages — we  called  on  Wood- 
bury beauties  in  each  of  the  forty- 
eight  states. 

Even  we  were  amazed,  astonished 
at  the  hundreds  of  lovely,  attractive 
faces  we  saw.  We  asked  for  their 
photographs  that  their  loveliness 

Copyright  1929,  by  The  Andrew  Jenreoa  Co. 

might   be  judged   and   published   to 
the  world! 

But  when  we  came  to  choose  from 
literally  heaps  of  the  charming  por- 
traits they  gave  us  we  were  bewil- 
dered. It  was  impossible  to  decide 
which  were  the  loveliest. 

So  we  asked  three  distinguished 
American  men,  known  for  their  deep 
appreciation  and  knowledge  of  beauty, 
to  choose  for  us.  We  asked  Cornelius 
Vanderbilt,  Jr.,  John  Barrymore,  and 
F.  Scott  Fitzgerald  to  select  from 
among  all  these  Woodbury  beauties 
the  loveliest  of  each  type. 

The  judges  are  choosing.  The  twelve 
most  beautiful  Woodbury  users  will 
be  published  in  a  series— the  loveliest 
debutante,  the  most  radiant  out-of- 
doors  girl,  the  loveliest  mother,  the 
youngest  grandmother — all  will  ap- 
pear in  these  pages. 

And  all  these  beautiful  women  are 
keeping  the  fresh,  clear  texture  of 
their  skin  by  constant  use  of  Wood- 
bury's Facial  Soap. 

Watch  for  them  each  month.  Who 
will  be  the  first  Woodbury  beauty? 
She  will  be  shown  in  March. 

The  Andrew  Jergens  Company 

Erery  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


^^OME  shifting  style  and  changing  personahties,    Mary  Astor,  for 
^^  \  instance.  Once  she  was  an  unsophisticated  beauty  and  content 
\^_y  merely  to  lend  pictorial  appeal  to  the  screen.     The  men  stars 
selected  her  for  their  leading  woman,  confident  that  no  burst  of  fire- 
works from  Mary  would  spoil  their   best  scenes.     Now  Mary  has 
acquired  a  livelier  personality,  and  you  will  find  her  where  the  bullets 
fly  thickest  and  fastest  in  "A  Romance  of  the  Underworld."    Check 
up  another  victory  for  marriage.    Since  Mary  married  Kenneth  Hawks, 
a  smart  young  supervisor,  her  acting  has  taken  on  new  interest 






Ruth  Harriet  Louise 

C  I    HE  talkies  are  making  'em  and  breaking  em.    The  demand  is  for  new  voices,  not  new  faces. 

/      Leila  Hyams  spoke  her  piece  so  prettily  in  "Alias  Jimmy  Valentine,"  that  Metro-Goldwyn 

invited  her  to  sign  a  contract.    Leila  was  a  far-seeing  child  when  she  selected  the  vaudeville 

team  of  Hyams  and  Mclntyre  for  her  parents.    As  a  youngster  she  played  on  the  stage,  just  by 

way  of  helping  MaEnma  and  Papa 

Lansins  Brown 

CJ    1ERY  rare  photograph  of  Alice  White.    And  why?    Because,  dear  children,  Alice  is  not  posed 

1/ in  her  usual  lingerie  nor  yet  in  her  bathing  suit.    Alice  is  one  of  those  girls  whose  gay  cinematic 

doings  keep  the  high-school  boys  and  girls  from  concentrating  on  their  geometry.    Has  she  it? 

Yes,  and  also  dem  and  dose.    She's  one  of 'those  flaming  stars  who  upset  the  careful  calculations  of 

movie  astronomers 


^T  /HOLLYWOOD'S  hot  spot.    The  Menace  from  Mexico.    California's  tropical  storm. 

(yji  Ask  Gary  Cooper.    Lupe  Velez  is  his  leading  woman  in  "The  Wolf  Song,"  and  Gary 

never  has  been  so  interested  in  a  picture.    Lupe  has  had  other  crushes  but,  at  the  moment 

of  leaping  to  press.  This  One  Was  Different.    Anyway  Gary,  who  might  have. been  broken-hearted 

when  Evelyn  Brent  married  Harry  Edwards,  has  decided  that  life  isn't  so  tough  after  all 


(TT^   /*0  microphonobia  for  Madge.    While  some  of  the  more  lofty  stars  are  thinking  of  retiring 

j_/ V     to  little  ivy -covered  cottages  in  Mesopotamia  or  Forgetting  It  All  in  the  South  Sea  Islands, 

X^_^  Madge  Bellamy  goes  ahead  serene  in  the  confidence  that  she  successfully  passed  her 

talkie  test  in  "Mother  Knows  Best."    Her  next  picture  is  "Exiles,"  and  it  will  be  what  William  de 

MiUe  aptly  calls  a  "chinema" 


/^  lONEL  BARRYMORE'S  career  is  almost  a  history  of  movie  acting.    He  was  a  member 

I     of  the  old  GrifBth-Biograph  Company  and  the  first  stage  player  of  standing  to  "disgrace" 

^^^_^  himself  by  acting  for  the  camera.    Mr.  Barrymore  enjoyed  a  brief  stardom,  slipped  into 

character  parts  and  then  the  talkies  again  raised  him  to  prominence.    Now  he  has  been  made  a 

director  and  his  first  assignment  is  the  dialogue  version  of  "Madame  X" 



For  women 
who  strike  the 
happy  medium  in 
avoirdupois  .  .  .women 
who  are  neither  exception- 
ally slender  nor  yet  stout  .  . , 
Gossard  has  created   this  new 
combination.  So  designed  that  it 
follows  Nature's  own  beauty  curves, 
it   softly   supports  the  bust  .  .  . 
smoothes  the  waistline  .  .  .  gives 
the  much  desired  flat  backline  . . . 
outlines  a  graceful  hip  curve  by 
means   of  wide   elastic   inserts. 
Because  the  entire  garment,even 
to  the  adjustable  and  detachable 
shoulder  straps,  follows  the 
natural  figure  curves,  you  will 
find  new  supported  ease,  new 
smartness  of  line  the  moment 
you  try  it  on.  Design  3697,  S5 

THE  H.  W.  GOSSARD  CO.,  Chicago,  New  York,  San  Francisco,  Dallas,  Atlanta,  London,  Toronto,   Sydney,  Buenoa  Aires 

Division  o/  Asiociated  Apparel  Industries,  Inc. 


IT!ii  :tiili>io!v-dollar 


Greatest  Groups 
of  Fashion  Experts — 

Every  great  Movie  Studio  .  .  . 
All  New  York  Musical  Shows . . . 
Famous  Dressmakers.. . Buyers 
for  1 12  great  department  stores 
— tell  how  they  keep  beautiful 
clothes  like  new  Twice  As  Long. 


Wardrobe  Test 

shuwii  Lux  most  econom- 
ical! (Above)  Wardrobe 
mistress  and  costume  di- 
rector. "Lux  saves  clothes 
and  monev,"  they  find. 

Aileen  Pringle  in  Hollywood's  most  expensive  tjown  —  of  thiffon  tissue 
embroidered  in  crystals,  viorn  in  "A  Single  Man." 

"WrOW  Hollywood  tells  its  very 
own  secret  of  caring  for  lovely 

Tells  how  the  beautiful  fashions 
worn  in  big  pictures  are  kept  so 
bewitchingly  fresh  and  so  new  look- 
ing, despite  the  hardest  of  wear! 

The  movies  made  many  tests  of 
the  different  methods  of  cleansing 
— and  they  discovered  this  amaz- 
ing fact: 

"The  original  beauty  of  modern 
fabrics,  whether  fragile  or  of  sub- 
stantial weave,  can  actually  be  Re- 
Newed  again  and  again  with  Lux 
— and  with  Lux  they  last  twice  as 
long!"    Now  every  great  studio  in 

Hollywood  uses  Lux  —  to  double 
the  life  of  beautiful  clothes! 

And  other  leading  fashion  au- 
thorities —  New  York's  gorgeous 
musical  shows,  the  buyers  for  lead- 
ing department  stores  (92'.c  of  all 
interviewed),  famous  dressmakers 
— also  find: 

"Lux  keeps  fine  things,  from  chif- 
fons to  woolens,  beautifully  new — 
twice  as  long!" 

Here  is  experience  to  help  every 
woman!  Using  pure,  bland  Lux  to 
cleanse  all  your  own  precious 
things  you  too,  can  keep  them 
adorably  new— much,  much  longer ! 
Lever  Bros.  Co.,  Cambridge,  Mass. 

The     National     Guide     to     Motion     Picture 

[TRADB  mark! 

February,  1929 

Close-Ups  and  Long-Shots 

By  James  R.  Quirk 

THERE    is    a    very    interesting 
article   elsewhere   in   this   issue 
which  bears  the  significant  title 
of  "Going  Hollywood." 

One  phase  of  it  was  neglected. 
It  seems  that  organizations  and 
institutions  can  go  Hollywood  also — 
our  favorite  institution  of  higher 
learning,  The  Academy  of  Motion 
Picture  Arts  and  Sciences,  for  instance. 
The  Academy  doesn't  get  much  publicity, 
but  no  one  can  accuse  Photoplay  of  neglecting 
it.  We  recognize  it  definitely  as  a  grand  idea. 
But,  sad  to  say,  a  grand  idea  gone  Hollywood. 

'\/"0U  may  or  may  not  have  heard  the  latest. 
■^  Now,  dear  friends,  the  august  Academy, 
which  may  in  years — let's  say,  a  thousand 
years — rival  the  French  Academy  of  Arts  and 
Sciences,  is  very  unhappy  about  the  way 
motion  picture  publications  are  treating  their 
dear  ones. 

But,  strangely  enough,  it  wasn't  until 
naughty  words  were  said  about  the  leaders  of 
the  Academy  that  they  were  driven  to  such  a 
white  heat  of  anger  (in  Hollywood  it  is  called 
passion)  that  they  are  planning  to  start  their 
own  fan  magazine  for  the  purpose  of  TELLING 

Lordy,  lordy. 

•T^HE  talking  pictures  have  already  accom- 

■*-  plished  one  stupendous  and  invaluable  feat. 

They    have    completely    smashed    what    is 

'temperament"  in  the 

drolly  called 

No  longer  can  Fifi  Fromage  tear 
the  set  down  and  begin  throwing  the 
pieces  at  her  director.  In  the  micro- 
phone such  a  display  of  childish 
insanity  would  sound  like  the  second 
battle  of  the  Marne. 

Even  such  a  gesture  of  annoyance 
as  leg-slapping  is  out.  One  day  at  Paramount, 
while  a  talking  scene  was  on,  Clive  Brook 
smacked  his  leg,  and  the  resulting  noise  came 
over  like  the  explosion  of  a  Big  Bertha. 

Whatever  else  the  talkies  have  done,  they 
have  piped  down  the  pettish  and  petulant. 

A  CHARMING  English  novelist,  named 
■^  ^-William  J.  Locke,  is  now  plunging  about 
the  Hollywood  jungles. 

A  few  days  after  he  arrived  in  this  country, 
Ray  Long,  editor  of  Cosmopolitan,  gave  a  lunch 
in  his  honor  at  the  Metropolitan  Club. 

I  sat  across  from  Mr.  Locke  at  the  festive 
board,  and  I  could  not  take  my  eyes  from  him. 
He  is  tall,  and  grey,  and  lean — a  perfect  portrait 
of  a  gentleman  and  a  scholar. 

And,  across  the  table,  he  looked  so  gentle  and 
so  wistful.  I  felt  sorry  for  him.  He  seemed  so 
ill  fitted  to  be  hurled  into  Hollywood.  He 
looked  tired.  It  was  like  tossing  an  untrained 
boy  into  a  trench  before  he  was  well  acquainted 
with  the  business  end  of  a  rifle  and  how  soon 
to  toss  a  hand  grenade  after  pulling  out  the  pin. 
He  seemed  temperamentally  unprepared  for  the 
speed  and  brusqueness  of  American  life. 


Now  I  think  of  Locke,  grinding  and  perhaps  being 
ground  out  there  in  the  mills  of  the  movies,  which 
grind  fast  and  exceeding  small.  If  they  understand 
him,  and  inspire  him,  and  know  what  to  do  with  his 
product  after  it  is  written,  and  convey  to  the  screen 
the  beauty  and  romance  in  his  fine  mind,  I  shall  be 
grateful  to  Hollywood.  Meanwhile,  I  watch  and  pray. 
A  few  days  after  arriving  in  Hollywood  he  wrote  a 
charming  little  piece  about  the  studios  and  the  colony. 
I  wonder  what  he'll  write  about  Hollywood  after  he 
emerges  from  the  marshes,  a  little  greyer  and  a  little 
leaner.  Whatever  it  is,  you  may  be  assured  that  it  will 
be  civilized  and  charming. 

THE  Singing  Fool,"  Al  Jolson's  Vitaphone  storm 
of  sobs,  had  just  ended  its  first  showing  at  the 
Regal  Theater  in  London. 

Twenty-five  hundred  people  had  not  even  blown 
their  noses,  wiped  their  eyes  and  reached  for  their  hats 
when  400  pretty  girls  streamed  down  the  aisles  carrying 
champagne,  sandwiches  and  cigars. 

A  trailer  flashed  on  the  screen.     "The  management 
will  be  honored  if  you 
will    remain    and    take 
wine  with  us,"  it  said. 

Ah,  these  foreigners! 
Here  in  the  Benighted 
States  we  don't  even 
get  dry  hankies!  I  pass 
on  this  hunch  to  the 
Messrs.  Warner  as  hot 

THE  talking  photo- 
play can  be  cen- 
sored. The  Pennsyl- 
vania State  Censors 
say  so,  and  so  it  must 
be  true.  Censors  are 

In  1915  The  United 
States  Supreme  Court, 
in  a  war-time  discus- 
sion, upheld  the  right 
of  film  censorship  under 
certain  conditions. 

Blue-noses  at- 
tempted to  jam  censor- 
ship through  30  states, 
and  they  succeeded  in 
seven.  Thirty  cities 
decree  it  by  municipal 
action.  The  Shock 
Battalions  of  the 
Righteous  have  made 
seven  crashing  attacks 
on  Congress  in  behalf 
of  national  censorship, 
and  their  riddled  lines 
are  ever  re-forming  for 
new  assaults. 

AND  now  we  face  another  attack  upon  the  con- 
..stitutional  Bill  of  Rights,  already  staggering  and 
almost  out  on  its  feet. 

"Congress  shall  make  no  law  abridging  freedom  of 
speech  or  of  the  press." 

There  it  is,  standing  gallantly  but  groggily  in  the  face 
of  a  hundred  bitter  assaults. 

Let  us  hear  what  the  Supreme  Court  has  to  say  about 
the  right  of  free  speech  from  the  screens  of  the  Republic. 

The  battle  will  be  joined,  and  soon. 

YOU  should  see  the  Little  Carnegie  Playhouse, 
located  in  a  hoity  toity  section  of  New  York  City. 
It  has  a  card  room  where  patrons  may  bridge  and 
pinochle  the  happy  hours  away.  There  is  a  dance 
floor,  with  a  radio  always  hitting  on  12.  There  is  a  ping- 
pong  arena  for  those  hot  blooded  youths  who  go  in 
for  the  more  violent  forms  of  manly  sport  and  exercise. 
It  is  rumored  that  there  is  also  an  auditorium 
wherein  the  more  artistic  types  of  photoplays  are  ex- 
hibited. But  I  wouldn't  know  about  that.  I  can't 
seem  to  get  past  the  pinochle  salon. 


"It  takes  the  patience  of  a  lacemaker  and  the 
courage  of  a  trans-Atlantic  flier  to  become  a 
successful  Hollywood  extra  at  this  time.  If  you 
possess  these  qualities,  and  enough  money  to  keep 
you  for  six  months,  try  it  out.  You  will  find,  at 
the  end  of  that  time,  that  you  have  changed  your 
mind." — Florence  Vidor,  motion  picture  star 

BED  time  story 
.for  tiny  tots. 

Once  upon  a  couple 
of  times  there  were  two 
British  actors  who 
didn't  amount  to  a  row 
of  used  razor  blades. 
Packing  their  tooth- 
brushes and  pinkspats, 
they  emigrated  to 
America  to  fight  Red 
Indians  and  dig  gold 
on  Broadway. 

One  was  a  Scotch 
comic  named  Ernest 
Torrence — the  other  a 
little  cockney  funny 
man  called  George  K. 

BOTH  fell  into  the 
films  and  fortune. 
Not  long  ago  they  ad- 
dressed a  great  London 
audience,  via  Movie- 
tone, in  a  mighty 
English  picture  house. 

Rich  and  famous  on 
America's  golden  coast, 
it  was  their  first  suc- 
cessful appearance  in 
their  homeland,  and  it 
was  made  on  a  shadow 

In  spite  of  our  mod- 
ern over-civilization, 
Romance  lives,  and 
reigns ! 


Co-Stars  for  Life 

HERE  is  the  kiss  that  started  the  romance.  You 
remember  it,  of  course,  in  "The  Sea  Beast."  And 
here  is  the  scenario  of  the  Dolores  Costello-John 
Barrymore  romance. 

In  1925,  Barr>-more  went  to  Hollywood.  He  was  the  great 
Hcimlet   of    the    stage. 

Temperamental,  hard-to-please,  the  youngest  of  the  great 

No  wonder  the  movie  producers  couldn't  find  a  leading 
woman  for  this  important  personage. 

.\nd  then  he  discovered  his  own  leading  woman — a  fragile, 
sympathetic  girl  who  was  playing  a  "bit"  in  another  picture. 
He  didn't  know  then  that  she  was  Dolores  Costello,  daughter 
of  Maurice  Costello,  who  had  been  something  of  a  John  Barr_\- 
more  himself  in  the  early  movies. 

A  charming  start  for  a  romance.  Although  Dolores  was  a 
member  of  one  of  the  First  Families  of  the  I"'ilms,  her  beginnings 
in  Hollywood  had  been  humble.  She  and  her  sister,  Helene, 
had  left  the  chorus  of  George  White's  "Scandals"  to  sign  a 
contract  with  Warner  Brothers.  But  she  had  failed  to  create 
any  great  furore  in  the  studio. 

To  be  selected  by  Barrymore  as  his  leading  woman  meant 
a  short  cut  to  success. 

But  it  wouldn't  have  been  a  real  romance  if  all  had  gone  well. 
Costello,  pcre,  resented  Mr.  Barrymore's  attentions  to  his 

John,  unfortunately,  was  married.  Mrs.  Costello  approved. 
Result:  a  divorce  in  the  Costello  family. 

Still  another  divorce  was  needed  to  pave  the  way  for  the 

marriage.  Last  August,  Michael  Strange  fooled  the  news- 
papers, Broadway,  Hollywood  and  the  rest  of  the  world  by 
filing  suit  in  Kingston,  N.  Y.,  for  a  divorce.  The  papers  were 
in  behalf  of  Mrs.  Blanche  Blythe  versus  John  Blythe.  Mrs. 
Blythe  was  awarded  the  decree  and  the  custody  of  a  daughter, 
Diana  Joan. 

Listen  closely,  because  this  is  complicated.  The  former 
Mrs.  Barrymore  was  Blanche  Oelrichs  Thomas,  daughter  of 
Charles  M.  Oelrichs  of  Newport  and  e.x-wife  of  Leonard 
Thomas.     She  writes  under  the  name  of  Michael  Strange. 

Barrymore  is  John  Blythe,  although  the  family  hasn't  used 
the  name  in  two  generations.  No  wonder  the  news  sleuths 
were  baffled. 

AND  now  for  the  wedding.  It  was  a  quiet  affair  at  the 
bride's  home  in  Beverly  Hills. 

There  were  more  reporters  and  photographers  than  guests. 

Brother  Lionel  was  best  man.  Sister  Helene  was  the 

From  the  East,  Ethel  Barrymore  sent  her  blessings  and  her 
verdict  that  Dolores  is  a  "darling." 

From  Cannes,  France,  Michael  Strange,  the  ex-wife,  wished 
the  couple  hafjpiness. 

The  bride  wore  a  wedding  gown  of  cream  lace  over  a 
bisque  slip  and  at  her  shoulder,  a  diamond  bar  pin  held  a 
shower  of  lilies-of-t he-valley. 

What  the  bridegroom  wore  is  not  important.  For  the  first 
time  in  the  history  of  the  theater,  a  Barrymore  played  a 
secondary  role. 


Jaime  and  Dolores  del  Rio  lived 
in  a  world  of  romance  and 
flowers.  They  had  love;  they 
had  money.  But  Dolores  wanted 
fame — and  she  achieved  it.  And 
then  Jaime  died,  thousands  of 
miles  from  his  wife  and  his 
home.  Another  tragedy  was 
checked  up  to  "Going  Holly- 

THE  day  before  he  died  in 
Berlin,  Germany,  Jaime  del 
Rio,  divorced  husband  of  the 
beautiful,  dark  Dolores,  asked 
to  be  buried  with  his  wedding  ring  on. 

The  young   Mexican  banker  and 
sportsman  was  only  thirty-three.  He 
was  sinking  rapidly  because  of  the  blood 
poisoning  that  had  set  in  following  a  slight 
operation  for  a  boil. 

He  was  a  foreigner  in  a  strange  land.  He 
had  only  a  few  friends  beside  him:  Father 
Moreno,  the  family  priest  of  the  del  Rio's, 
who  had  come  all  the  way  from  Spain;  Paul 
Mooney,  Fred  Stein  and  Curtis  Melnitz, 
personal  friends,  and  the  physician  who  sat 
with  his  quiet  finger  on  Jaime's  fluttering  pulse. 
But  Jaime  was  neither  lonely  nor  afraid. 

Lying  there,  thousands  of  miles  from  home,  in  the 
valley  of  the  shadow  of  death,  he  was  closer  to  his 
beloved  wife  than  he  had  ever  been  beneath  the 
golden  sun  of  Hollywood. 

Dolores'  many  cablegrams  lay  where  his  dimming 
eyes  could  see  them.  The  next-to-the-last  one  said: 
"Darling,  you  must  get  well  because  of  my  love  for 
you."  But  the  one  that  came  at  the  final  moment 
was  the  briefest  and  most  expressive  of  all.  It 
whispered  the  only  words  that  are  ever  truly  im- 
portant to  any  man  or  woman,  "I  love  you." 

And  it  may  well  be  that  dying,  with  a  smile  on  his 
lips,  was  a  much  easier  thing  for  Jaime  del  Rio  than 
living  with  sorrow  will  be  for  Dolores. 

For  if  ever  a  girl  paid  the  price  of  going  Hollywood 
Dolores  del  Rio  is  paying  it  now.  Do  not  misunder- 
stand.    This  is  no  attack  against  a  heartbroken  star. 

It  is  a  little  too  much  to  ask  that,  when  a  girl, 
beautiful,  young  and  vital,  is  shown  all  the  kingdoms 

What  Happens 
Garden  of 

of  the  world  that  she  should  have  the  wisdom  to 
withhold  her  hand  from  grasping  them.  The 
malady  that  attacked  Dolores  del  Rio  was 
simply  that  which  attacks  so  many  people  of  the 
film  colony.  It  is  the  sickness  of  excessive,  over- 
powering, devastating  ambition.  It  is  "going 

SINCE  the  world  began  men  and  women  have 
sacrificed,  have  suffered,  have  endured  all 
things  for  love.  But  in  Hollywood  love  is  a 
bauble  to  be  retained  as  long  as  usable  and  then 
to  be  scrapped  when  it  gets  in  the  way  of  either 
ambition  or  pleasure. 

The  case  of  Jaime  and  Dolores  del  Rio 
is  a  perfect  example. 

I  shall  never  forget  meeting  Dolores 

shortly    after    she    first    arrived    in 

Hollywood.     I  expect  I  shall  never 

again    see    anyone    at    once    so 

beautiful,   so  vibrant,   so  young 

Mae  Murray  was  queen  of  the 
studio.  Her  word  was  law;  her 
wish  was  a  command.  But  she 
forgot  her  old  friends.  Today, 
she  is  not  in  pictures.  Vaudeville 
is  her  meal  ticket 

A  simple  American  lad 
and  an  exotic  Polish 
actress — both  victims  of 
Phantasia  Hollywoodii. 
Charles  Ray  wanted  to 
be  more  than  an  actor. 
He  wanted  to  be  pro- 
Pola  Negri  forgot  to  be 
an  actress.  She  played 
her  best  scenes  out  of 
range  of  the  camera. 
She  was  at  the  mercy  of 
small  whims  and  vani- 
ties. And  so  two  talented 
persons  were  lost  to  the 

W^olhwood  R 


to  People  in  the 

and  eager.  Her  skin  was  golden  as  honey  in  those 
days,  her  lips  were  pink  carnations  and  her  eyes  were 
as  soft  and  exquisite  as  a  young  doe's. 

Dolores,  a  young  society  woman,  had  been  dis- 
covered in  Mexico  City  by  Edwin  Carewe.  Carewe 
had  brought  her  to  Hollywood.  He  told  her  she  could 
become  a  great  actress,  a  greater  star.  He  painted 
before  her  deep  brown  eyes  an  iridescent  future.  He 
laid  out  before  her  the  kingdoms  of  the  world. 

THERE,  at  the  beginning,  Dolores  was  still  the 
young' wife  of  a  handsome  Mexican  society  man. 
Mr.  Carewe  was  simply  her  director.  She  clung  to 
Jaime,  her  husband.  She  deferred  to  Jaime.  And 
naturally  Jaime,  who  adored  Dolores,  adored  that. 

It  is  violating  no  secret  now  to  say  that,  at  first, 
Dolores  was  no  particular  hit.  She  was  an  inexpe- 
rienced beauty  in  a  town  where  beauty  is  a  common 
commodity.  But  Carewe  handled  her  adroitly  and 
Dolores  worked  and  studied  like  fury.  She  made  four 
ditTerent  pictures  without  anyone  knowing  about  it 
except  the  companies  that  paid  her  her  salary. 

Then  came  "What  Price  Glory."  Ah,  marvelous, 
wonderful  fortune  to  cast  her  for  the  most  coveted 
part  of  the  year!  So  Dolores  must  have  thought. 
So  any  girl  would  have  thought.  So  probably  the 
worshipping  Jaime  thought.     Yet  that  was  the  be- 

Mauritz  Stiller,  the  great  Swedish  director,  and 
Greta  Garbo,  his  shy  young  discovery,  arrive  in  this 
country.  All  that  was  back  in  1925.  Today  Stiller 
is  dead.  He  died  a  lonely,  defeated,  heart-broken 
man,  an  exile  from  the  city  that  made  Greta 

ginning  of  the  del  Rio  tragedy. 

With  that  part  Dolores  started  going 

MOST  tragedies  have  their  root  in  small,  trivial  misunderstandings. 
So  it  was  with  Dolores  and  Jaime.  One  day,  during  a  tense,  impor- 
tant scene,  when  the  nerves  of  everyone  were  on  edge,  Jaime  del  Rio  was 
asked  to  leave  the  set.  Now  Hollywood  understands  a  situation  like 
that.  In  the  midst  of  work,  anyone — even  a  near  and  dear  relative — 
is  merelv  an  outsider.  Mothers,  husbands,  fathers  and  children  may 
be  ordered  from  the  set,  and  no  slight  or  rudeness  is  implied. 

But  Jaime  del   Rio,   the  sensitive,   aristocratic  gentleman,   didn't 
understand.     To  him,   this  everyday  studio  regulation  was  a  cruel 
and  sinister  thrust.    It  meant  that  he  was  pushed  out  of  Dolores'  life — 
relegated  to  the  role  of  being  only  her  husband. 
I  believe  Dolores  couldn't  help  going  Holly- 
wood.   I  believe  that  no  girl  in  the  position  that 
Dolores  was  placed  in  could  have  helped  it. 
There  was  too  much  to  resist. 
First  of  all,  there  was  work. 
No  one  who  had  not  lived  in  Hollywood  has 
any  conception  of  how  the  film  people  work. 
.\nd  I  mean  work,  plain  unremitting  toil  for 
hours  and  hours  on  end.    Except  where  most  of 
us  work  with  a  Combination  of  the  mental  and 
physical,  the  players  of  Hollywood  work  with 
mind,  body  and  emotions. 

The  average  .American  works  from  nine  to  five 
and  calls  it  a  day. 

Corinne  Griflith  is  often  called  the  most 
independent  star  in  the  business  because  she 
insists  upon  quitting  [CONTINUTED  ON  page  104) 

And  Nazimova, 
one  of  the  first 
great  players  to 
blaze  across  the 
screen.  Her  salary 
was  enormous. 
Her  popularity  was 
unquestioned.  She 
was  an  artist  — 
until  she  "went 
Hollywood."  To- 
day she  is  playing 
second  fiddle  to  a 
lesser  actress  at  a 
Fourteenth  Street 
Theater  in  New 


( ( 

omething  About 


A  Life  Story,  to  be  vital,  must 
deal  with  emotions" 

As    told  to    Kathertne   Albert 

by  Nils  Asther 


IT  is  a  difficult  task  for  me,  Nils  Asther,  to  tell  the  story  of 
my  life. 
I  am  not  a  pleasant  person.  I  am  not  gay  and  amusing 
and  social.  I  am  ingrown,  introspective,  analytical.  To 
speak  of  things  that  affect  me  deeply  and  to  speak  of  them 
honestly  is  a  burden. 

Tragedy  plays  a  subtle,  personal  part  in  the  drama  of  one's 
life.  It  should  not  be  mentioned.  One  may  chat  with  friends 
and  speak  many  words  that  mean  nothing,  one  may  recount 

This  photograph  of  Nils  Asther  was  taken  in  his 
European  home  after  he  had  made  his  first  suc- 
cess in  the  movies.   Yes,  they  have  comic  supple- 
ments in  Sweden 

amusing  or  dramatic  incidents  in  which  the  "  I  "plays  the  central 
figure,  but  a  life  story  is  more  than  a  series  of  events.  It  is 
more  than  "and  then  I  arrived  in  Germany"  or  "I  left  Guten- 
berg to  go  to  Russia" — hke  an  illustrated  travelogue.  Places 
and  time  are  inconsequential. 

A  LIFE  story,  to  be  real  and  vital,  must  deal  with  emo- 
tions, and  how  does  one  speak  of  emotion? 

When  I  was  married,  my  wife  said  to  me,  "Surely  j'ou  do  not 
love  me.  I  tell  you  twenty  times  each  day  that  I  am  yours 
completely.  I  speak  that  my  heart  belongs  only  to  you.  And 
you  are  silent.  You  cannot  say 'I  love  you.'  Why  do  you  not 
tell  me  these  things?" 

I  could  not  speak  of  these  things,  since  love  is  a  deep  emotion 
and  since,  once  the  words  were  out,  the  emotion  no  longer 
belonged  to  me.  Something  had  fled  from  me  when  I  formed 
the  syUables  on  my  tongue. 

Yet  these  inner  workings  of  the  heart  are  more  strange  and 
vital  than  any  chain  of  events,  no  matter  how  spectacular,  that 
might  occur  in  the  life  span  of  an  entity.  These  make  up  the 
panorama  of  living  and  if  I  am  to  tell  honestly  what  has  hap- 
pened to  me  during  the  27  years  that  I  have  been  a  part  of  this 
"discreditable  episode  on  one  of  the  minor  planets"  I  must 
speak  frankly,  I  must  discuss  what  I  have  never  discussed 

One  question  occurs  to  me  again  and  again.  One  word,  the 
ruling  question  of  my  life,  "Why?"  I  ask  myself  a  thousand 
times  and  I  find  no  answer. 

When  I  was  a  child  I  was  given  a  watch.  My  joy  lay  not 
in  the  bit  of  metal  and  glass  that  I  held  in  my  hand  but  in 
finding  the  inner  mysteries  of  the  strange,  rhythmic,  "tick- 
tick."  I  tore  it  apart  and  discovered  bits  of  wire  and  tiny 
bolts  that  had  no  meaning  and  that  were  useless  after  they  had 
been  unchained  from  their  prison.  I  could  not  put  them  all 
back  into  the  case  and  the  time-piece  was  ruined. 

And  thus,  after  I  have  torn  myself  apart  for  analysis,  I  find 
that  I  know  no  more  and  am  no  better  off  than  I  was  before 
and  yet  I  continue  to  question,  an  incessant  "why?"  still  rings 
in  my  ears. 

What  manner  of  man  am  I?    To  what  end  am  I  living? 

I  WAS  born  with  this  absorbing  curiosity,  but  the  introspec- 
tive and  analytical  tendencies  came  as  a  result  of  the  events 
of  my  childhood. 

Again  I  repeat  the  difliculty  of  speaking  of  them.  They  were 
tragic  to  me.  My  dreams  at  night  are  still  haunted  by  intan- 
gible, disturbing,  muddled  thoughts  of  those  bitter  days.  Yet 
who  am  I  to  call  them  tragic?  Who  am  I  to  say  that  I  was  un- 
happy when  there  are  men  who  have  been  through  wars,  when 
there  are  women  who  have  borne  children  and  have  lost  them 
in  death? 

Certainly  there  is  no  one  capable  of  measuring  the  unhappi- 

'I  am  not  a  pleasant  person.     I  am  not  gay  and  amusing  and  social.     I  am  ingrown,  introspective, 
analytical.     To  speak  of  things  that  affect  me  deeply  is  a  burden" 

ness  of  another  soul.  I  am  happy  when  others  would  be  most 
uncomfortable,  tortured  when  others  would  be  most  happy. 
What  to  one  nature  may  be  a  momentary  annoyance  is  black 
despair  to  another. 

"There  is  no  mystery  so  great  as  misery." 

When  outwardly  one  appears  the  most  gay  there  may  be  the 
lurking  demon  of  doubt,  the  grim  neurasthenia  of  the  heart. 
Yet  tragedy  is  of  the  mind.  One's  life  is  of  the  mind.  The  only 
realities  are  the  unrealities. 

MY  father  was  of  the  aristocratic  house  of  Asther,  high 
bourgeoisie.  He  owned  lands  and  factories  and  newspapers 
in  and  around  Malmo,  Sweden,  where  I  was  born.  He  had  been 
married  to  a  beautiful  society  woman,  who  had  borne  him  a  son 
— a  son  who  delighted  him,  a  boy  whom  he  could  take  to  his 
heart.  My  half-brother  filled  my  father's  life  as  I,  a  sickly, 
melancholy  lad,  could  never  do.  My  father  wanted  to  do  the 
best  thing  for  me.  He  wanted  to  give  me  the  advantage  of 
going  into  his  business  and  becoming  a  respectable  member  of 
society.  His  lack  of  understanding  was  not  from  the  heart, 
certainly.  His  intentions  were  of  the  best,  but  I  still  shudder, 
when  I  remember  how  my  body  trembled  when  I  heard  his  step 
in  the  hall  and  knew  that  he  would  question  me  about  the 
things  I  had  done  during  the  day. 

A  stern.  Continental  parent 
he  was,  who  could  not  under- 
stand my  stupidities.  IMy  mother 
— ah,  she  was  the  soul  of  gentle- 
ness and  sweetness.  She  was  of 
a  social  station  beneath  m\- 
father,  the  daughter  of  a  high 
school  teacher,  and  the  house 
became  divided  against  itself. 

It  was  then  that  I  became  in- 
grown and  bitter,  so  introspec- 
tive that  in  later  years  when  I 
found  myself  again  miserable 
and  unhappy  my  closest  friends, 
Augusta  Lindberg  and  Djalmar 

Bergman,  of  whom  I  shall  speak  at  length  later  on,  did  not 
dare  to  come  to  me  and  question  me  and  offer  their  help. 

Vague,  childish  misery.  My  mother  weeping  alone  in  a  great 
room.  My  heart  torn  with  sorrow  at  the  sight  of  her.  The 
color  of  an  autumn  sky.    The  strange  philosophies  of  books. 

My  father  kept  us  waiting  at  dinner  time.  He  and  my 
brother  were  always  on  their  yachts  and  did  not  realize  the 
flight  of  time.  So  my  mother  and  I  lived  to  ourselves  and  I  was 
keenly  aware  of  the  distinction  made  between  me  and  my 

Christmas  is  supposedly  a  happy  time.  It  is  still  like  a  night- 
mare to  me.  ]\Iy  grandfather  always  arrived  and  gave  my 
brother  money  amounting  to  the  sum  of  ten  dollars,  perhaps.* 
Later  in  the  day  he  would  see  me.  I  would  be  given  five  dollars. 
This  was  as  it  should  have  been;  I  was  younger.  But  I  was 
sensitive  at  the  distinction. 

IW.\S  not  supposed  to  know  the  difference  but,  boy-like,  my 
brother  could  not  resist  the  temptation  of  saying,  "See  what 

my  grandfather  has  given  me. 
What  did  he  give  you?" 

And  I  could  not  answer, 
knife  in  mv  heart. 

See  how  much  money  I  have. 

T3ECAUSE  he  is  one  of  the  coming 
'-^  young  men  of  the  screen,  Photoplay 
presents  the  Story  of  Nils  Asther.  It  is 
honestly  and  seriously  written.  As  Mr. 
Asther  says,  "A  Life  Story  is  more  than 
a  series  of  events.  .  .  .  The  inner  work- 
ings of  the  heart  are  more  strange  than 
any  chain  of  events  ....  1  must  speak 
frankly,  I  must  discuss  what  1  have  never 
discussed  before." 

I  could  only  feel  the  thrust  of  the 
Then  I  would  find  my  mother  and  she 
would  comfort  me. 

I  had  no  friends  at  school.  I 
was  always  sickly  and  morose. 
I'm  sure  that  I  was  an  unattrac- 
tive little  boy  who  did  not  invite 
companionship  from  the  other 
students.  The  books  I  read 
were  much  too  old  for  me,  books 
of  heavy  psychological  fiction 
and  strange  philosophical  works. 
I'm  sure  I  did  not  understand 
them,  yet  at  the  time  they  seemed 
to  satisfy  me.  Immature  as  I 
was,  the  thought  poems  of  those 
great  minds  must  have  seeped 

[continued  on  p.\ge  138  ] 


rWO  more  twin  profiles — Joan  Crawford  and  Pauline  Frederick. 
Will  some  bright  producer  please  cast  them  together  in  a  mother 
and  daughter  drama?     What  a  picture  that  would  be!     Now  for 
the  statistics:    Joan  is  one-half  inch  taller  than  Miss  Frederick  and  a 
few  pounds  lighter.  And — you  may  not  believe  it — there    is  twenty 

years  difference  in  their  ages 

^  Holy  Racketeers 

Close- Ups  and  Flashes  of  the  Motion  Picture 
Censorial  Mind  in  Action 

THE  mighty  mass  of  photoplay  fans  are  un- 
acquainted, perhaps,  with  the  little  band  of 
zealots  who  stand  at  the  doors  of  the  Capitol 
at  Washington,  year  after  year,  demanding 
federal  censorship  of  the  motion  picture. 

Meet  them  socially!    Censors — fans!  Fans,  mitt 
the  censors! 

Their  leader  is  The  Rev.  William  Sheafe  Chase, 
D.D.,  an  Episcopal  cleric  of  Brooklyn,  N.  Y.  He  calls  his  in- 
finitesimal army  The  Federal  Motion  Picture  Council  inAmerica. 
The  Canon  mobilized  his  Heavenly  shock  troops  in  Wash- 
ington on  Nov.  26,  and  I  was  privileged  to  sit  in  a  safe  dugout 
amid  the  rockets'  pale  pink  glare  and  the  bombs  popping  faintly 
in  air. 

Here,  then,  is  a  series  of  flashes  of  the  censorial  type  of  mind 
in  action.  They  are  written  in  sorrow  and  not  in  anger.  There 
is  something  infinitely  pathetic,  as  well  as  ironically  humorous, 
in  the  labors  of  these  old  guerillas  who  battle  in  and  out  of 
season  to  impose  upon  the  many  the  will  of  the  few. 

SCENE — the  Garden  Room  of  the  sumptuous  Mayflower 
Hotel  in  Washington,  a  large,  rococo  place  that  often  is 
horrid  with  the  tooting  of  such  unholy  classics  as  "Momma 
Loves  Poppa,"  and  the  shuffle  of  dancing  feet. 

On  the  platform,  to  the  right  of  the  presiding  officer,  sits  the 
good  Canon  Chase  himself — a  grey  little  man  in  clerical  duds, 
w  ith  a  dispirited  white  moustache  and  a  bald  head  that  gleams. 

In  the  chair — The  Rev.  J.  J.  Claudy,  Doctor  of  Divinity,  an 
impressive  looking  gentleman  of  the  cloth. 

Below,  the  faithful,  comprising  nothing  less  than  the  SLsth 
.\nnual  Motion 
Picture  Confer- 
ence under  the 
auspices  of  The 
Federal  Motion 
Picture  Council  in 
America,  Inc. 

What  a  hoity- 
toity  title  for  such 
a  tiny  flock!  There 
c  m't  be  more  than 
forty  of-  the  con- 
ferees, with  a  scant 
half  dozen  of  the 
male  gender. 

Something  is 
terribly,  tragically 
wrong  with  these 
holy  shock  troops. 
What  can  it  be? 

Ah,  I  have  it! 

They  are  com- 
pletely devoid  of 
youth!  Middle  life 
— old  age — hard, 
set  faces  and  sus- 
picious, darting 

But  not  one 
shining  face — not 
one  young,  hearty 
voice  to  speak  out 
loud  and  strong  in 
the  name  of  those 
millions  of  happy 
>'oungsters  of  the 
republic  who  find 




so  much  joy  in  the  play  world  of  the  films.  That's 
it.  There  isn't  a  grin  in  a  carload  of  these  holy 

I  am  the  youngest  person  present.  But  of  course 
I  am  only  an  unregenerate  reporter,  and  appro.x- 
imately  as  welcome  as  a  guffawing  hyena. 

Behind  the  active  ringsiders,  and  clinging  to  the 
room's  fringes,  other  ladies  and  gentlemen,  out- 
numbering the  mob.  I  suspect  them.  Most  of  them  are 
lamentable  spies.  I  recognize  writers  for  the  trade  press — 
representatives  of  the  great  industry  that  is  under  the  gunfire 
of  the  godly. 

We  agents  look  at  each  other  sidewise,  and  say  "Sh!" 
They  watch — they  listen — they  take  notes. 
Now  the  conference  that  is  to  shake  the  world  and  save  our 
youth  is  about  to  begin. 

The  chairman  clears  his  throat.     The  brethren  and  sistren 
perch  on  the  edges  of  their  chairs. 

THERE  is  a  prayer,  and  a  quavering  hymn. 
The  Rev.  C.  G.Twombly,D.D.,  arises  in  his  place  and  comes 
to  the  rostrum. 

He  is  a  handsome  chap,  and  he  carries  an  imposing  sheaf 
of  what  is  no  doubt  damning  documentary  evidence. 

I  look  at  the  printed  program.    His  subject  is  "The  Moving 
Picture  Menace." 

It  is  evident  at  once  that  Dr.  Twombly  has  a  Wide  Vision 
of  Service. 

"Forty-five  million   children  see  movies  every  week,"  he 
announces.    Then  he  berates  his  brethren  of  the  cloth  for  not 

attending  also, 
in  order  to  keep 
close  tab  on  the 
machinations  of 
Satan  in  Celluloid. 
"Nothing  is  too 
bad  for  me  to 
see!"  he  shouts. 

There  is  an  ap- 
pro ving  cluck- 
from  the  sisters  in 
the  seats. 


Illustrated  by 

Rollin  Kirby 

And  it  sounds  just  like 
a  one-man  band,  too. 

[AT  are 
,e  going 
to  do  to  save  our 
young  peoiile  from 
the  evils  of  motion 
pictures?  "  he  asks. 

No  answer  is 
forthcoming.  Dr. 
Twombly  plunges 
into  the  horrid  de- 
tails of  certain  in- 
iquitous  films 
before  which  he 
has  sat  in  the  per- 
formance of  his 
high  calling  as 
guardian  of  .Amer- 
ican vouth. 

In'Mr.  Griffith's 
"  Battle  of  the 
Sexes"  Miss  Phyl- 


PAGE  136] 

^The  Hot  Baby 

of  Hollywood 

otherwise  Lupe  Velez 

By    K  ath  e  1-  i  n  e   Albert 

ONCE,  when  Lupe  Velez  was  a  child,  she  took  the  jewels 
from  the  altar  in  the  house  to  twine  in  her  hair.    Con- 
sternation reigned  when  her  parents  discovered  this. 
"  My  Lupe  is  full  of  pep,"  said  her  father. 
"  My  Lupe  is  full  of  hell,"  said  her  mother. 
Lupe  is  full  of  hell  and  fire  and  earth  and  storm  and  sea.  She 
is  breathless  and  exciting  and  young.    As  simple  as  a  nursery 
rhyme,  as  vital  as  passion. 

She  was  born  in  a  house  not  far  from  Mexico  City  where  her 
father  was  a  colonel  in  the  army  and  secretary  to  the  governor. 
It  was  a  big  house  with  many  servants,  whose  chief  duty 
seemed  to  be  to  sit  on  the  roof  and  watch  Lupe  give  imitations 
of  the  famous  actresses  of  the  day. 

The  beds  were  ripped  apart  so  that  Lupe  could  stuff  herself 

with  pillows  and  drape  herself  with  sheets.    It  was  a  one  girl 

show.    Lupe  would  have  it  no  other  way.    The  servants  and 

her  sisters  were  the  audience.    Lupe  was 

the  star. 

It  was  trying  enough  for  the  family  to 
have  the  house  thrown  into  disorder  be- 
cause Lupe  felt  called  upon  to  give 
amateur  theatricals  on  the  roof,  but  when 
she  was  eleven  or  twelve  years  old,  other 
difficulties  presented  themselves.  Even 
at  that  tender  age  Lupe  had  sex  appeal 
and  no  race  is  as  quick  to  recognize  this 
quality  as  the  Mexican. 

THE  house  was  surrounded  by  boys  of 
all  ages,  who  whistled  in  various  keys. 
For  Lupe  these  young  swains  were  simply 
a  means  to  an  end.  She  had  an  absorbing 
curiosity  about  motion  picture  stars  and 
she  discovered,  young  as  she  was,  that 
her  kisses  were  marketable.  She  would 
bestow  a  chaste  salute  on  a  masculine 
cheek  in  exchange  for  a  picture  of  a  star 
or  a  colored  ribbon  to  wind  in  her  dark 

Thus  men  became  to  her  tools  to  gain 
the  things  she  wanted,  and  the  house  was 
besieged  by  them.  Her  more  placid  sis- 
ter, Josephine,  became  her  messenger. 
She  carried  notes  between  Lupe  and  the 
boys,  and  Lupe's  keen  little  ears  soon 
learned  the  different  whistles  of  her  young 
lovers.  Josephine  was  sent  out  to  deliver 
the  proper  hU]cl  doitx  for  each  knight. 

During  the  short  space  of  time  that  I 
talked  to  Lupe  I  developed  a  deep  sym- 
pathy for  her  mother  who,  at  last,  decided 
that  it  was  impossible  to  keep  her  in  the 

Lupe  Velez  arrived  in  Hollywood 
with  one  dollar,  a  few  words  of 
English  and  a  Mexican  hairless  dog. 
Oddly  enough,  she  did  not  want  to 
go  in  to  pictures.  "I  knew  that  I  was 
too  ugly,"  she  explains.  The  pro- 
ducers disagreed  with  her,  and  her 
success  was  one  of  the  quickest  on 

Some  high- 
spots  in  the  life 
of  Lupe,  who 
captures  the 
boys  and  gives 
the  girls  some- 
thing to  talk 

house  any  longer.  Living  with  a  cyclonic 
force  must  be  harrowing,  so  Lupe  and  her 
messenger-sister,  Josephine,  were  shipped 
away  to  a  convent — Lady  of  the  Lake — in 
San  Antonio,  Texas. 

HERE  she  met  American  girls  who 
taught  her — as  much  as  Lupe  can  be 
taught — to  sing  American  songs  and  to  do 
the  shimmy,  the  forerunner  of  the  Charles- 
ton and  the  Black  Bottom. 

As  she  had  been  a  trial  to  her  family,  so 
she  became  a  trial  to  the  nuns.  She  ap- 
peared in  school  theatricals.  She  recited 
little  verses  about  birds  and  bees  and 
flowers  and  when  there  was  only  a  mild 
ripple  of  applause,  Lupe  resorted  to  that 
quaint  old  army  custom,  technically  known 
as  the  razzberry,  to  express  her  disap- 
proval. It  threw  the  girls  into  hysterics, 
but  the  mild  and  gentle  nuns,  who  did  not 
understand  it,  let  her  go  unscolded. 

And  then  came  tragic  news.  The  revo- 
lution flourished  in  Mexico.  Her  father 
was  shot  through  the  lungs!  The  girls 
must  go  home  immediately. 

LUPE  found  herself  on  a  train  speeding 
back  to  her  native  land.  Because  she 
was  the  younger,  she  must  sleep  in  the  upper 
berth,  her  sister  in  the  lower.  This  was 
not  for  Lupe.  A  calm,  sane  upper  berth, 
when  on  up  ahead  was  a  large,  pulsing,  ex- 
citing locomotive! 

At  the  next  stop  Lupe  left  her  own  coach 
and  climbed  into  the  cab  of  the  engine  to 
discover  a  hard-boiled  engineer  who  simply 
could  not  be  bothered  with  Mexican  girls. 

"He  would  not  let  me  stay  in  the  en- 
gine," said  Lupe,  "but  I  knew  that  I  was 
to  stay,  so  I  just  gave  him  dis  .  .  ." 

"Dis"  is  a  plaintive  look  with  the  eyes 
opened  wide  and  the  lips  drawn  into  a 
provocative        [  continued  on  page  141  ] 

Said  the  wife  of  an  English  novel- 
ist, "Oh,  yes,  my  deah,  Lupe  Velez. 
A  very  noisy  young  person."  But 
Hollywood  likes  her,  because  Holly- 
Wood  likes  anyone  who  is  young, 
exciting,  vital  and  interesting. 
And,  in  this,  Hollywood  is  not  so 
very  different  from  your  own  home 


The  Studi^^i 




C.    A.    BRYSON 


The  Los  Aiigclcs  police  department,  lieadcd  by  Chief 
Detective  Smith,  is  baffled  by  a  startling  murder.  Divighl 
Hardell,  one  oj  the  leading  players  of  the  Superior  Films 
Company,  is  found  dead  on  Stage  Six,  following  a  hard 
night's  work  on  close-ups  alone  under  the  direction  of  Franz 
Seibert,  Superior's  ace  foreign  director.  A  blood-stained 
rapier  lays  beside  the  body,  still  garbed  in  the  costume  of 
HardeU's  last  screen  role. 

Investigation  centers  around  four  people.  It  develops  that 
Hardell  left  the  studio  in  Director  Seibert's  car  at  12:17 
A .  M.  Hardell  apparently  found  his  ivay  hack,  through  the 
studio's  guarded  gate,  without  being  observed.  In  the  studio 
at  the  time  were  Seibert's  assistant,  Billy  West,  and  Yvonne 
Beaumont,  a  French  actress.  Both  were  on  mysterious 
errands  outside  their  studio  work.  Detective  Smith's  in- 
vestigation hints  of  another  murder  observer  or  participant — 
a  mysterious  woman.  This  may  be  Beth  MacDougal, 
daughter  of  tlie  studio  gateman  and,  of  course,  MacDougal 
himself  may  be  involved  in  the  crime. 

As  the  hunt  tightens,  young  West  confesses  to  the  crime 
and  Miss  Beaumont,  who  is  in  love  with  West,  confesses  that 
she  came  to  the  studio  to  recover  some  letters  from  the  mur- 
dered man,  Hardell. 

There  is  the  mystery  to  date.  HardeU's  record  is  a  bad 
one.  He  appears  to  have  been  a  scoundrel  in  private  as  well 
as  in  his  make-believe  life.  Women  were  his  victims  and  it 
seems  highly  possible  that  the  murder  centers  around  a 
broken  heart. 

Still —  Go  on  with  the  story  and,  remember,  that  $3,000  in 
prizes  go  to  the  shrewd  amateur  detectives  who  beat  the  Los  A  ngcles 
police  in  solving  this  sensational  crime. 


"VONNE  .  .  .  stop!" 

'No,  Billee!    I  will  not  stop!    I..." 
Jut  West  turned  to  Smith,  crying: 
"She's  only  trying  to  Save  me!    Don't  listen  to  her! 
Go  on  .  .  .  ask  me  questions  .  .  .  try  to  prove  it !    I  went  on 
that  set  last  night,  and  you'll  find  my  fingerprints  to  prove  it!" 
"Which  reminds  me.    You  have  on  rubber-heeled  shoes.  Just 
what  I  am  looking  for.    Did  you  wear  those  shoes  last  night?  " 

Smith  walked  over  to  Rosenthal's  desk.  From  the  pile  of 
papers — the  time  sheet,  the  tape  from  Lannigan's  clock,  and  a 
few  miscellaneous  articles — he  pulled  a  folded  paper.  Opening 
it,  he  revealed  that  it  was  smeared  with  rusty-red  stain. 

"npAKE  off  your  shoe,  West,"  he  said  then.     Awkwardly, 
JL  flushing   miserably   because   of   his    bound    wrists,    the 
prisoner  bent  to  obey  him.    Yvonne  went  to  him  swiftly. 

"No  .  .  .  dear  .  .  ."  She  stood  back,  and  the  sound  of  a 
sob  came  from  her.  Smith  watched  them  both  with  cool  indiffer- 
ence. When  the  shoe  was  off,  he  took  it,  and  with  his  pen  knife 
he  dug  out  adeposit  in  the  nail  holes  in  the  heel.  This  besmeared 
beside  theother  stain  on  the  paper,  and  held  it  out  for  them  to  see. 
"Matches  up,  eh?  A  laboratory  test  will  prove  it.  You  must 
have  stood  by  HardeU's  body  quite  some  time.  West,  to  let  his 
bloodget  into  your  shoes  like  that  .  .  .  and  to  leave  the  remark- 


ably  clear  trail  across  the  floor,"  he  said  quietly.  "I  was  going 
to  question  )'ou  carefully  as  to  your  actions  on  the  lot  last  night, 
but  )'ou  have  saved  me  the  trouble  for  the  present  .  .  .  your 
confession,  and  this  .  .  .  rather,"  and  he  pointed  to  the  paper. 
Yvonne  put  her  hands  to  her  face,  and  moaned: 
"Billee!    Billee!" 

THE  president  of  Superior  Films  stared  at  him  in  horror. 
"Have  you  anything  to  add  to  your  confession?"  said 
Smith  addressing  West. 

He  drew  the  back  of  his  hand  across  his  forehead  in  a  dazed 
way,  before  he  answered.  Once  he  opened  his  lips,  as  though 
to  ask  a  question.    But  he  did  not.     Finally  he  said: 

"No.    That  .  .   .  is  .   .  .  all." 

Yvonne  was  pounding  the  back  of  a  chair  with  tight  clenched 

"Oh  .  .  .  you  are  .  .  .  crazee!  Crazee  ...  all  of  you!" 
she  sobbed  furiously. 

Clancy,  coming  in,  stood  a  moment,  his  cheeks  puffed  out  in 
surprise,  at  this  exhibition.  Smith  brought  him  sharply  to 

"Did  you  check  up  on  Seibert's  story?" 

"Sure,  chief.  His  chauffeur  says  he  came  in  all  right  like  he 
said,  and  spoke  to  him.  Says  when  he  went  up  to  bed,  Seibert 
had  his  light  on,  and  was  sittin'  by  his  window  readin'.  That 
was  about  an  hour  and  a  half  .  .  .  maybe  two  hours,  later." 
Clancy  stopped,  and  looked  at  West,  and  the  handcuff's. 

"Didn't  take  you  long,  did  it,  chief?"  he  asked  significantly, 
a  grin  spreading  over  his  face. 

More  confes- 
sions tangle 
this  weird  mys- 
tery of  a  Holly- 
wood  Studio. 
Who  is  guilty? 
You  can  help 
find  the  mur- 
derer and  win 

Yvonne  Beaumont  sud- 
denly faced  the  room. 
"Ladies  .  .  .  gentlemen  .  .  . 
will  you  hear  me?  I  have 
.  .  .  sometheeng  to  tell 
you!"  The  beautiful  girl 
looked  bravely  at  her  audi- 
ence. "First  I  tell  you 
that  I  have  had  ze  .  .  . 
what  you  say  .  .  .  affair 
wiz  Mr.  Harden !  I  did  not 
loff  heem.  I  am  ze  flirt, 
oui.  Pretty  soon  I  am 
afraid!  He  make  me  scare. 
He  say  he  will  show  some 
silly  letters  to  my  Billee! 
I  am  .  .  .  wild  .  .  .  it  ees 
zen  that  Yvonne  becomes 
...  a  murderess!" 

"He  has  confessed,"  said  Smith  tersely. 

"Huh!"  grunted  Clancy.  Even  in  his  most  sanguine 
moment,  he  had  not  hoped  for  such  an  easy  capture.  He  stood, 
slowly  sizing  up  the  man  in  handcuffs.  The  victorious  in- 
solence in  his  face  made  West  long  to  get  up  and  punch  it.  He 
made  no  effort  to  hide  his  desire,  and  Clancy,  well  trained  in  the 
meaning  of  such  looks,  deliberately  fanned  it  into  an  outburst. 

"  Huh!  A  boob  amateur  tryin'  to  put  one  over  on  a  guy  that 
stole  his  sweetie! "  he  sneered.  West  lurched  at  him,  his  hand- 
cuffed hands  raised.  If  he  thought  Clancy  was  to  be  taken 
unawares,  he  was  mistaken.  The  sergeant  of  police  had  turned 
his  back  squarely  upon  him,  but  now  he  wheeled  on  the  instant, 
his  fist  swinging  out  unerringly.  West  was  slammed  into  a 
chair  back  of  him. 

"None  of  that  stuff!"  he  hissed.  "You're  goin'  with  me,  and 
you're  goin'  quiet ! "  Wrapping  a  hand  hardened  to  such  prac- 
tice in  the  back  of  West's  collar,  he  hauled  him  upright. 

"  Listen,  you  damn  murderer!  Try  that  again  and  I'll  smack 
your  chin  back  so  far  you  can  use  it  for  a  collar  button!" 

"/'^L.'\NCY!"  The  captain  of  detectives  looked  meaningly 
V.-'at  his  sergeant. 

"  No  little  squirt  of  a  crook  can  act  up  with  me,  and  get  away 
with  it!"  retorted  Clancy  belligerently.  He  turned  back  to 
West,  and  thrust  his  big  paw  down  his  collar. 

"Come  on,  you  .  .  ." 

There  was  a  flash  of  steel,  and  the  boy's  hands  swung  up  and 
down.    His  eyes,  suddenly  a  black  blaze,  leaped  to  Smith's. 

"Take  these  damn  things  off  me,  or  I'll  wreck  the  place!"  he 

roared.  "Pretty  soft  for  you!  Out  here  one  day,  and  the  best 
you  can  do  is  pick  on  a  girl!  Somebody  tells  you  a  lot  of  rot, 
and  you  start  right  in  throwing  dirt  on  her  name!  That's  a  hell 
of  a  way  to  catch  a  murderer!  You  knew  damn  well  I'd  confess 
to  it!  All  right.  I  did.  But  that  doesn't  give  you  the  right  to 
put  a  filthy  tub  of  guts  like  this  over  me!  You  take  off  these 
handcuffs,  and  you  do  it  damn  quick!  I'll  go  to  jail,  but  I'll  go 
like  a  gentleman!  I'll  go  when  you  send  a  man  with  a  decent 
tongue  in  his  head.  .  .  ." 

"/'^LANCY,  you  can  step  over  to  the  hospital  and  get  the 
V— 'nurse  to  fi.x  you  up,"  said  Captain  of  Detectives  Smith 
at  this  point.  Astonishingly  speedy  had  been  his  seizure  of  his 
sergeant  of  police  when  West's  manacled  hands  had  swung 
down  on  his  head.  Astonishingly  steely  was  the  grip  that 
kept  the  frothing  Clancy  from  leaping  at  West's  throat.  There 
was  an  instant  in  which  Clancy  hesitated,  his  hands  curled  and 
quivering  with  the  intent  .  .  .  and  then  he  touched  his  cap, 
and  stepped  into  the  hall.  .  .  . 

"Tell  Ryan  to  come  in,"  called  Smith  after  him. 
"Ryan,  this  is  Mr.  West.    Take  him  down  and  lock  him  up. 
There's  no  need  to  call  attention  to  yourselves.    Perhaps  Mr. 
West  will  drive  you  in." 

"Right,  sir,"  .  .  .  and  to  West,  ".Are  you  ready?" 
Yvonne,  shrinking  back  in  her  [chair,   looked   out   at   him 
with  eyes  in  which  contempt  and  loathing  burned. 

"You  know  he  did  not  do  eet!"  she  said  in  a  low,  tense 
voice.  "You  are  a  weecked  ...  a  bad  ...  a  terrible  .  .  . 
man!    God  will  puneesh  you  one  day!    I  say  eet!" 

/WENT  to  Beth  MacDougal  in  the  hospital,"  explained  Detective 
Clancy.  "The  kid  didn't  know  her  father  has  confessed,  see?  She 
looks  at  me  like  a  scared  rabbit.  Well,  then  I  springs  the  dope  about 
her  dad  to  her.  And,  say,  that  kid  never  had  a  ghost  of  an  idea  her  dad 
was  goin'  to  confess  to  the  murder!  No  siree!  The  kid  was  good  and  sick. 
'They'll  hang  my  Daddy!  They'll  hang  him!' she  kept  repeating.  'Oh, 
my  God  .  .  .  what  did  I  ever  do  it  for?'  " 


$3,000  in  Prizes  for  Detective  Skill  in 
Solving  this  Baffling  Murder 

She  looked,  and  spoke  words,  like  a  child,  but  her  voice  was 
rough  with  passion.  Her  eyes  accused  him  in  a  way  that 
threatened  to  break  through  his  composure. 

"I  do  not  kno-w  anything  about  this  case  .  .  .  yet  .  .  ."  said 
the  detective. 

"  Veil,  I  should  tink  it  vould  be  all  offer,  vid  poor  West's  con- 
fession! Ach,  that  boy!  I  cannot  bclieff  it!"  Rosenthal  sighed. 
.Surreptitiously  he  took  out  his  voluminous  handkerchief.  Then 
quite  frankly  he  wiped  his  eyes. 


THE  coroner's  inquest  over  the  body  of  Dwight  Hardell  has 
gone  down  in  newspaperdom  as  the  tenth  wonder  of  the 
world.  The  sob  sisters  who  handled  it  were  reduced  to  a  state  of 
imbecilic  into.xication  from  sheer  excitement.  They  found  them- 
selves beggared  of  adjectives  in  the  first  round.  Such  a  thing,  as 
you  probably  know,  seldom  happens  to  sob  sisters.  The  newsies 
for  once  did  not  have  time  to  scream  their  extras.  The  papers 
were  snatched  away  from  them  faster  than  they  could  hand 
them  out.  Black  headlines  fought  with  bursting  columns  on 
the  front  pages.    We  herewith  reprint  as  follows: 

All  picturedom  predicted  to  be  involved  in  mysteri- 
ous crime.      Was  fiendish  deed  mob  attack  or  smoke 
screen  thrown  up  by  motion  picture  magnate  of  Superior 
Films  to  conceal  truth  which  is  too  frightful  to  reveal? 

And  more.  Head  writers  let  space  and  type  go 
to  the  devil,  and  strung  their  lines  halfway  down 
the  front  page.  Sob  sisters  wallowed  in  exagger- 
ated exj^ressions,  as  follows: 

"What  threatens  to  be  the  most  sweeping  ex- 
pose of  picturedom,  was  begun  today  with  the 
coroner's  inquest  over  the  body  of  Dwight 
Hardell.  Startling  enough  in  itself  is  the  murder 
of  the  well-known  actor  .  .  .  startling  and  fiend- 
ishly brutal!" 

"Lying  stark  and  cold  in  the  satin  and  laces  of 
his  period  costume,  his  white  wig  not  whiter  than 
his  dead  face,  his  hand  still  grasping  the  glittering 
duelling  weapon  with  which  he  tried  to  defend 
himself  .  .  .   that  is  the  way  Dwight  Hardell  was 
found  yesterday  morning  by  an  office  boy  on  the 
Superior  Films  lot!     Mysterious  and  uncanny  is  the  fact 
that  he  was  lying  in  the  exact  position  in  which  a  dummy  of 
himself  had  been  arranged  the  night  before,  for  a  dissolve 
shot!    Mysterious  and  uncanny  is  the  collection  of  clues  dis- 
covered by  Captain  of  Detectives  Smith  .  .  .  not  one  of  which 
bears  out  another!" 

ST.XRTLING  also,  the  confession  of  William  West,  an  assist- 
ant directorof  Superior  Films,  to  the  murder!  His  shoes  were 
found  to  be  the  same  which  had  made  a  bloody  trail  across  the 
stage  .  .  .  but  .  .  .  the  fingerprints  which  were  found  on  the 
canvas  door  of  the  set  were  a  woman's!  A  woman's  voice  also, 
that  sent  out  the  scream  in  dead  of  night,  which  night  watch- 
man Lannigan  took,  and  rightly,  for  a  banshee  .  .  .  wailing  the 
passing  of  the  dead!  A  woman's  hand  who  wrote  the  'death 
note,'  found  in  Hardell's  room,  that  stated,  '  I  shall  end  every- 
thing between  us  .  .  .  tonight!'  The  'death  note'  was 
written  by  Yvonne  Beaumont,  a  Superior  Films  star!  The 
murder-confession  was  made  by  William  West,  known  to  be 
madly  in  love  with  the  beautiful  French  actress  .  .  .  and  from 
there  the  answer  is  simple.  He  confessed  to  shield  her  .  .  .  but 
not  so  simple,  after  all,  for  an  unknown  woman  enters  into  the 
case!  The  bloody  fingerprints  were  not  made  by  Miss  Beau- 
mont! Who,  then,  is  this  second  woman?  The  night 
gateman  at  Superior  Films  says  he  marked  both  Miss  Beau- 
mont and  Mr.  West  in  on  the  night  of  the  murder,  but  he  denies 
admitting  any  other  person  except  the  murdered  man  and  his 
director,  Franz  Seibert!" 


Chief  of  Detectives  Smith 
faced  the  police  chief. 
"This  is  murder  de  luxe! 
It's  the  prettiest  murder 
I  ever  saw!  In  some  ways 
it  looks  like  the  work  of  a 
silly  kid  ...  In  some 
ways  it  looks  like  —  the 
work  of  a  fiend!" 

So  man)'  and  so  bewilder- 
ing are  the  mysterious  angles 
of  this  crime  that  it  is  diffi- 
cult w'hich  thread  in  the 
tangled  maze  to  follow. 

Here  is  a  stiff  one  for  amateur  sleuths.  .  .  .  "Dwight  Hardell 
was  marked  out  by  the  gateman  at  12:17  ...  he  did  not 
return  .  .  .  he  was  found  dead  on  Stage  Six  the  next  morning. 
Are  Lannigan  and  MacDougal,  the  watchman  and  gateman 
respectively,  in  a  conspiracy  to  shield  somebody,  and  is  the 
time  of  Hardell's  departure,  as  given  by  MacDougal  .  .  . 
erroneous?  And  where  does  Franz  Seibert  come  into  this,  for 
he  also  states  he  left  the  lot  with  Hardell  at  12:17  A.  M.!" 

"CTARTLING  and  bewildering  enough  are  all  these  things, 
Obut  it  is  predicted  things  more  startling  are  yet  to  come, 
and  that  the  history  of  some  of  the  most  famous  people  in 
pictures  will  be  made  public  before  the  truth  of  this  strange 
crime  is  uncovered!" 

"It  is  common  gossip  that  Seibert  is  working  with  .Abraham 
Rosenthal  to  cover  up  the  actual  truth  of  the  case,  and  that 
every  attempt  is  being  made  to  mxstify  the  police  and  the 
public,  in  order  that  their  minds      [  continued  o.\  page  78  ] 

Complete  Rules  for  Studio  Murder  Mystery  on   Page  78 

What  AreYoUR 
Correct  Colors? 

"DEGINNING  with  this  issue,  Photoplay  will  have  four  covers 
^thal  will  also  be  color  charts  jor  the  jour  different  types  of 
feminine  beauty:  brunette,  blonde,  red-haired  and  brown-haired. 
Each  month  there  will  be  a  color  analysis  for  the  various  types. 
Miss  Latirene  Hempstead,  who  will  write  these  articles,  is  an 
expert  in  color  and  a  member  ofthestaJfofWouEN's  Wear  Daily, 
an  authoritative  New  York  fashion  publication. 

Beauty  experts  say  that  American  women  too  often  sacrifice  their 
own  beauty  to  follow  an  arbitrary  fashion  in  color.  The  best 
designers,  too,  are  trying  to  make  women  choose  colors  to  conform 
with  their  own  coloring,  not  a  fashion  whim.  These  articles,  with 
the  covers,  will  help  you  immeasurably  in  adding  to  your  own 
good  looks,  through  the  correct  use  of  color. 


LIKE  you  in   black,"  said  the  gallant  and  discerning 
young  man.     "It  makes  you  stand  out." 

The  you  was  a  blonde  with  a  fair  skin  and  light  yellow 
hair.     She  wore  a  lustrous  black  velvet  gown  which  made 

BEFORE  you  select 
the  colors  for  your 
costume,  first  find  the 
colors  for  your  make-up. 
To  do  this,  you  must 
make  an  impartial  study 
of  the  actual  pigmenta- 
tion of  your  skin.  Are 
your  lips  and  cheeks 
red-orange  or  red-violet? 
If  you  are  a  brunette, 
you  probably  have  the 
warm  coloring.  There- 
fore, select  a  rouge  and 
lipstick  containing 
orange  that  will  increase 
the  color  without  alter- 
ing it.  If  you  are  a 
blonde,  select  a  red- 
violet  make-up.  In 
choosing  powder,  match 
the  natural  skin  areas  of 
your  forehead  and  neck. 
You  will  probably  need 
two  different  sets  of 
make-up  —  one  for  your 
summer  tan  and  one  for 
your  paler  winter  com- 
plexion. Read  this  ar- 
ticle and  learn  how  to 
make  the  most  of  your 

her  skin  seem  a  pearly  white,  with  undertones  of  warm  rose 
beneath.  A  dull,  flat  black  would  have  made  this  same  fragile 
complexion  seem  pale  and  uninteresting.  In  contrast  to  the 
black,  her  hair  was  a  shining  living  gold;  yet  this  same  hair 
might  have  seemed  faded,  dingy  and  characterless  if  its  owner 
had  doomed  it  to  insignificance  by  wearing  a  vivid  yellow  or 

EVERY  girl,  every  woman,  holds  it  in  her  power  to  make  her 
best  features  more  evident,  to  make  undesirable  traits 
less  conspicuous,  by  wise  selection  of  colors  used  in  her 
costumes.  Her  home,  which  should  be  the  background,  the 
setting  for  her  personality,  may  also  be  made  more  effective, 
more  inviting,  and  even  more  comfortable,  by  means  of  wisely 
chosen  colors. 

Women  are  realizing  more  and  more  that,  by  surrounding 
themselves  with  harmonious  colors,  they  may  achieve  greater 
happiness  and  comfort.  Color  has  entered  the  kitchen  and  the 
bathroom — two  rooms  formerly  doomed  to  remain  white. 
There  is  color,  too,  in  sheets,  table-linen  and  all  the  accessories 
of  the  household.  For  color  has  a  decided  effect  upon  the 
emotions.  It  is  as  powerful  a  force  as  music,  and  its  use  is  more 
extended  for  one  ma)'  always  be  surrounded  by  color,  at  any 
time  and  in  any  place. 

Psychologists  have  found  that  each  color  affects  the  emotions 
in  a  different  manner.  You  are  not  the  same  individual  in  a 
blue  dress  that  you  are  in  a  red  one.  You  not  only  feel  differ- 
ently, but  you  act  differently.  And  oh,  how  different  you  look 
to  your  friends!  Not  only  will  your  appearance  be  changed, 
but  the  emotions  of  those  who  see  you  will  be  affected  by  the 
color  you  wear. 

No  two  persons  react  in  exactly  the  same  way  to  color.  One 
may  like  green  because  the  girl  he  loves  looks  well  in  it ;  another 
may  abhor  it  because  a  disliked  and  feared  maiden  aunt  habit- 
ually wears  it.  According  to  scientific  experiments,  most 
humans  react  most  pleasantly  to  blue  and  to  red.  Men,  con- 
trary to  general  belief,  show  slightly  greater  preference  for 
blue  than  for  red;  while  most  women  choose  red  first,  blue 
being  less  favored. 

IN  selecting  your  correct  color,  remember  that  your  face 
should  be  the  center  of  interest,  the  most  important  considera- 
tion in  the  composition  created  by  the  costume  and  the  wearer. 
The  costume  should  be  the  background  and,  rather  than  think- 
ing first  about  the  costume,  one's  attention  should  be  focused 
on  the  individual  herself,  upon  her  face,  which  best  expresses 
her  personality.  The  costume  should  increase  the  attractiveness 
of  one's  own  coloring,  and  not  introduce  powerful  colors  which 
overwhelm  those  of  the  individual. 

Naturally  you  will  wish  to  select  colors  for  your  costume 
and  your  home  that  will  make  your  skin  clearer,  make  your 
eves  seem  deeper,  larger  and  more  expressive,  and  bring  out  all 
the  color  and  lustre  of  your  hair.  To  do  this,  you  must  make  a 
careful  study  of  the  actual  pigmentation  of  your  skin,  hair 
and  eyes.  Most  women  classify  themselves  as  blondes,  bru- 
nettes, redheads  or  "in-betweens,"  without  taking  the  trouble 
to  analyze  their  actual  coloring. 

So  let  us  first  consider  the  skin:  The  actual  pigmentation 
of  the  skin,  such  as  found  in  the  neck  or  the  forehead,  is  not 
white,  neither  is  it  pink.  It  is  really  orange  in  tone,  a  pale, 
light  orange,  much  less  bright  than  the  fruit  from  which  it  takes 
its  name,  but  clearly  of  the  same  hue.  Its  tone  varies  greatly 
in  individuals,  ranging  from  a  yellow  to  a  red  orange. 

The  flesh  tones  found  in  lips  and  cheeks  also  vary  decidedly. 
They  are  seldom  pure  red,  as  they  are  usually  described,  but 




How  you 
may  become 
happier  and 
more  attrac- 
tive, by  ana- 
lyzing your 
coloring  and 
finding  your 
proper  har- 


either  red-orange  or  red-violet. 
Most  so-called  brunettes  possess 
the  warm,  or  red-orange,  coloring. 
Blondes  have  cooler  red-violet  col- 

The  coloring  of  the  individual 
also  changes  according  to  health 
and  the  seasons  of  the  year. 
Therefore  a  color  which  is  becoming  during  the  winter  or  early 
spring  months  may  be  decidedly  unsuitable  in  the  summer 
when  the  skin  is  tanned.  Bear  this  in  mind!  Don't  go  through 
life  wearing  pale  blue  because  you  looked  well  in  it  when  you 
were  a  child,  or  pale  orchid  because  it  went  well  with  your 
winter  pallor. 

Before  you  choose  the  color  of  your  costume,  you  must  find 
a  suitable  make-up.  The  object  of  rouge  and  lipstick  is,  not  to 
change  the  natural  color,  but  to  increase  it  without  altering  its 
tone.  Thus  if  you  have  a  red-violet  coloring,  a  vivid  orange 
rouge  will  not  only  fairly  shriek  its  presence  but  will  give  you  a 
harsh,  hard  look  and  usually  clash  with  the  color  of  your  hair 
and  eyes. 

Powder  should  always  match  the  natural  background  of  the 
skin,  which  may  be  found  on  the  neck  and  forehead.  Remember 
that  powder  is  not  designed  to  change  the  natural  color,  but  to 
give  a  soft  velvety  finish  and  to  remove  shine  and  other  im- 

Now  for  the  selection  of  color  for  your  clothes:  Here,  briefly 
are  some  important  points  to  remember: 

COLORS  may  change  the  face  by  two  methods;  that  of 
reflection  and  that  of  contrast.  A  red  tone  may  reflect  red 
light,  or  it  may  cause  to  appear  an  entirely  opposite  color, 
known  as  a  complementary  color. 

If  the  fabric  of  your  dress  has  a  shiny  surface,  or  if  your  skin 
is  smooth  and  clear,  reflection  will  occur.     If  the  fabric  is  an 
intensely  vivid  color,  it  courts  the  complementary  shadows. 
There  is  a  scientific  reason  for  this.    Intense  colors  fatigue 

If  you  are  a  brunette,  save  Photoplay's  cover  as  a  color  chart  for  selecting 
your  clothes.  And  save  this  Iceyed  chart  as  a  guide  to  the  colors.  1.  Softened, 
slightly  neutralized  yellow-orange.  2.  Dark,  slightly  neutralized  red-orange. 
3.  Light  value  of  soft  red-orange.  4.  Grayed  green  with  slightly  yellow-green 
tinge.  5.  Softened  orange  of  medium  value.  6.  Red  with  only  a  tinge  of 
orange.  7  Dark,  slightly  grayed  green.  8.  Pale  tint  of  red  orange.  9.  Bright 
red  orange.    10.  Red,  very  slightly  softened 

the  observer's  eye,  causing  it  to  see  a  directly  opposite  color 
on  the  adjoining  surface.  Furthermore,  intense  colors  decrease 
the  color  in  the  face  because  they  subdue  the  delicate  flesh  tints 
by  their  own  greater  strength. 

P.\RTL\LLY  neutralized  colors  are  therefore  more  becoming, 
more  easily  worn,  than  full  intense  ones.  Not  one  out  of  ten 
women  should  wear  large  areas  of  intense  color,  and  probably 
not  one  out  of  a  hundred  looks  as  well  in  them  as  in  colors  of 
softer,  less  vivid,  character. 

The  average  woman  would  do  well  to  avoid  both  the  very 
brilliant  and  the  completely  neutral.  Grays,  neutral  tans  and 
beiges  are  particularly  trying  to  persons  who  have  become  gray 
or  whose  coloring  has  been  dimmed  by  ill-health  or  age.  Warm 
rosy  beiges,  rosy  grays  or  grays  with  a  definitely  blue  cast  are 
more  becoming  because  they  give  an  appearance  of  life  and 
vitality  to  the  skin. 

Those  with  neutral  coloring  who  attempt  vivid  reds  to  give 
color  to  their  appearance,  defeat  their  own  purpose.  They 
make  the  pale  person  seem  entirely  colorless.  Estelle  Taylor, 
whose  portrait  is  on  the  color  chart  for  this  month,  is  one  of  the 
fortunate  women  who  can  wear  brilliant  reds.  She  has  a  force- 
ful personalit.\-,  a  clear  skin  and  vivid  coloring. 

Extremely  dark  colors  absorb  color  from  surrounding  sur- 
faces. If  your  coloring  is  too  vivid,  if  you  are  inclined  to  be 
florid,  black  or  dark  colors  will  subdue  and  clarify  your  skin. 
Black  velvet,  because  of  its  flattering  lustre,  not  only  brings 
out  the  whiteness  of  your  comple.xion  but  does  not  absorb  the 
personal  coloring.  [  continued  on  page  81  ] 


"It  seems  that  it  appealed  to 
Jack's  peculiar  sense  of  humor  to 
take  Effie  around  and  introduce 
her  to  everyone,  whispering  the 
news  that  she  was  the  daughter  of 
a  Scotch  toffee  king,  whose  father 
was  just  aching  to  spend  a  million 
pounds  to  put  her  in  the  movies. 
No  wonder  she  was  popular!" 



Illustrated  by 

R.  Van  Buren 


YOU'LL  probably  say  I'm  all  hay-wire,  but  I  tell  you 
the  politest  man  in  Hollywood  is  Jack.  Arden."  Ann 
Sutherland  tossed  her  pretty  blonde  bob  and  smiled 
at  the  incredulity  that  greeted  her  statement.  As 
usual,  everybody  stopped  to  listen  to  Ann.  She  was  one  of  the 
few  women,  clever  enough  to  be  both  a  wife  and  mother,  and 
at  the  same  time  gain  entree  into  the  most  exclusive  circles  in 
Filmdom — all  on  a  press  agent's  salary. 

It  was  the  hour  when  most  Hollywood  discussions  take  place 
— the  uncertain  interlude  between  the  time  when  guests  are 
invited  to  a  dinner  party  and  the  time  the  last  one  really  arrives. 
Cocktails — candle-light,  the  hostess,  cool  and  gracious,  knowing 
her  wise  cook  will  not  put  the  filets  on  to  broil  until  a  quarter  of 
nine  at  the  earliest;  the  guests  wandering  in,  one  by  one,  with 
plenty  of  space  between  introductions  for  talk. 

Prince  Parmenati  had  started  the  argument  by  affirming  that 
American  men  were  completely  devoid  of  gallantry  and  he  had 
been  backed  up  by  the  foreign  contingent,  ever  present,  these 
days,  at  all  elite  social  functions.  The  Americans  in  the  room, 
subconsciously  resenting  the  foreign  invasion  anyway,  because 
it  touched  their  pocket-books,  were  a  little  abashed  and  ill  at 


ease  in  combating  the  Prince's  monocled  self-assertiveness.  .\ 
tinge  of  ill-humor  was  creeping  into  the  sallies  on  both  sides, 
when  Ann's  remark,  as  Ann's  remarks  have  a  habit  of  doing, 
exploded  the  strain  in  a  burst  of  laughter. 

"Why  Ann,  you  goose!"  exclained  Margalo  Thompson,  the 
hostess,  "Jack  Arden's  the  rudest  man  in  Hollywood,  or  any- 
where else  for  that  matter.  Just  because  he's  a  big  star,  he 
seems  to  think  he  doesn't  have  to  bother  about  being  polite. 
You  know  he  never  remembers  anybody's  name  or  whether 
he's  been  introduced  to  you  before.  He  never  arrives  any- 
where on  time  or  even  arrives  at  all,  if  he  doesn't  feel  like  it. 
Why  he  was  due  here  tonight  and  I  was  about  to  order  his 
favorite  dessert,  when  I  happened  to  read  in  Louella  Parson's 
column  that  he'd  gone  to  Lake  Tahoe  on  location.  There'd 
have  been  thirteen  at  the  table  if  the  Prince  hadn't  so  kindly 
come  to  our  rescue."  She  flashed  a  smile  at  the  foreigner,  who 
bowed  gracefully. 

"Nevertheless,"  affirmed  Ann,  "Jack  is  responsible  for  the 
most  perfect  act  of  politeness  I've  heard  of  for  many  a  moon." 

"And  who  told  you  this,  my  pretty  one?"  asked  the  Prince. 

"Effie,  my  nursemaid." 

In    wh  ic  h   a 

Scotch  Cinder- 
ella buys  her 
ticket  to  the 
ball.  A  differ- 
ent sort  of  off- 
screen  ro- 
mance  — told 
by  a  woman 
who  knows 
her  movies 


There  was  another  roar  of  laughter  and  the  men  exchanged 

"Oh  no,  it's  not  what  you  think,"  put  in  Ann  quickly.  "If 
you  could  have  seen  Eflie  with  her  prim  little  Scotch  face,  you'd 
know  Jack  Arden  would  never  have  looked  at  her  twice  or  even 
half  a  time,  if  she  hadn't — "  Ann  paused  and  looked  around 

"/'"^ O  on,  Ann,"  said  Margalo.  "Don't  be  so  tight.  You've 
VJgot  us  all  worked  up  and  I  know  dinner  won't  be  ready 
for  half  an  hour." 

This  was  a  lie,  for  it  was  already  nine  o'clock,  but  King  Vidor 
and  Eleanor  Boardman  had  not  yet  arrived  and  Margalo  saw 
a  chance  to  bridge  a  hungry  wait. 

"Well,"  said  Ann,  "Effie  was  one  of  the  thousand  and  one 
movie  struck  girls  who  descend  on  Hollywood  each  year.  But 
with  a  difference.  She  did  not  want  to  go  into  pictures.  Some- 
how that  keen  little  Scotch  brain  of  hers  realized  that  her  plain 
face,  pale  gray  eyes,  and  too  plump  figure,  that  could  never 
resist  American  cream  and  butter  long  enough  to  reduce,  were 
not  even  extra  material. 

"  It  was  enough  for  her  to  be  in  the  same  city,  tread  the  same 
sidewalks,  breathe  the  same  air  as  her  idols.  She  could  hav^e 
made  twice  the  salary  with  a  millionaire's  family  in  Pasadena, 
but  she  took  the  job  with  us  just  because,  when  I  was  interview- 
ing her,  cook  brought  me  a  message  to  see  Conrad  Nagel  about 
some  work  at  the  studio. 

"You  may  remember  how  I  used  to  boast  that  I  had  found 
the  perfect  nursemaid.  Besides  taking  such  good  care  of  the 
children,  Effie  was  always  ready  to  help  with  the  other  work  and 
when  I  entertained  anyone  connected  with  pictures,  she  begged 
me  to  let  her  wait  on  the  table.  She  wouldn't  let  me  pay  her 
extra  for  it,  either,  and  once  when  I  protested,  because  she'd 
been  up  late  with  the  baby  the  night  before,  she  declared 

"  'Oh,  Ma'am,  I  wouldn't  miss  it  for  anything.  It's  a  pleas- 
ure to  wait  on  such  people — coming  so  close  to  them  as  I  do 
when  I  pass  the  vegetables.' 

"When  I  think  how  much  pictures  meant  to  Efl5e,  it  makes 
me  realize  that  there's  something  in  them  that's  bigger  than 
any  of  us.  She  had  worked  her  way  over  from  Scotland.  Then 
all  the  way  across  the  United  States,  [  continued  on  page  108  ] 


bssip  of  AW 


Stealing  another  style  from  the  boys — 
Josephine  Dunn  wears  a  hat  copied  from  a 
football  head-guard.  It  can  be  worn  for 
football  games,  aviation  or  very  brisk 
motoring.  One  of  the  inevitable  results  of 
California's  season  on  the  gridiron 

The  loves  of  Hollywood  are  nice. 
They  rush  from  ice  to  fire  to  ice. 
In  fact,  they  turn  so  soon  to  rubble 
They  do  not  seem  quite  worth  the  trouble. 

THE  marriage  of  Evelyn  Brent  and  Harry  Edwards  has 
caused  a  ripple  of  comment  on  Hollywood's  untroubled  seas. 
It  was  sudden.  It  was  unexpected.  Nobody,  except  one  dear 
friend,  had  an  inkling  that  it  was  to  take  place.  Evelyn  tried 
to  keep  it  quiet. 

Everybody  thought  that  Evelyn  Brent  and  Gary  Cooper 
were  going  to  be  married,  in  spite  of  the  fact  that  Evelyn  stoutly 
denied  a  rumored  engagement. 

The  fact  remains  that  she  looks  radiantly  happy,  and  Mr. 
Edwards  isn't  pulling  a  long  face. 

FOR  the  first  time  in  her  short  sojourn  in  Hollywood  it  seems 
that  Lupe  Velez  has  fallen  in  love.  Oh,  there  have  been 
many  men  in  her  life  so  far,  men  who  have  taken  her  places  and 
sent  her  flowers  but  now  it  appears  that  Gary  Cooper  is  the 
heavy  flame. 

Gary  is  just  a  poor  boy  trying  to  get  along.  He's  the  young- 
est one  of  the  men  with  whom  Lupe  has  gone  and  certainly  he 
is  unable  to  send  her  orchids  three  times  a  day,  which  leads 
Hollywood  to  believe  that  it's  the  Real  Thing. 

nPRAGEDY  among  the  premiere-goers  of  Hollywood. 
Also  proof  that  not  every  luxurious  limousine  is  paid  for. 
Many  times  the  title  is  held  by  a  finance  company. 

Therefore,  one  cannot  blame  the  elegantly  costumed 
starter  in  front  of  the  great  theater  who  bellowed  forth  at 
the  last  premiere: 

"Car  belonging  to — to  the  Pacific  Finance  Company!" 


And  still  another 
reason  why  sports 
are  popular:  Joan 
Crawford  in  a  sport 
coat  designed  by 
the  inventive  Mr. 
Howard  Greer.  It 
is  made  of  alter- 
nating horizontal 
stripes  of  two- 
toned  caracul. 
With  it,  Joan  wears 
a  scarf  of  blue  wool 

HERE'S  a  story  that  will  break  the  hearts  of  Chicagoans. 
Greta  Garbo  arrived  there  one  windy,  snowy  morning  on 
her  way  to  Sweden.  All  the  hotels  were  filled  up  and  there 
were  no  rooms  for  Greta.  Colonel  Tim  McCoy  found  her 
sitting  forlornly  in  a  taxicab,  enjoying  one  big  cry.  The  gallant 
Colonel  hunted  up  a  room  for  Greta,  arranged  for  reserva- 
tions on  a  New  York  train  and  enlivened  the  trip  for  her  by 
telling  her  of  his  adventures  among  the  Indians  and  cowboys. 

WHEN  Greta  arrived  in  New  York,  she  spent  one  night 
in  a  hotel,  registered  under  the  name  of  Miss  Alice  Smith. 
Then  she  departed  for  Greenwich,  Conn.,  to  stay  with  friends, 
where  she  was  inaccessible  to  reporters,  publicity  men  or  repre- 
sentatives of  M.-G.-M. 

Everyone  says  confidently  that  Greta  will  return.  But  no 
one  has  any  definite  promises  from  the  lady  herself.  She  sailed 
on  a  one-way  passport  and,  on  the  same  boat,  was  Nils  Asther. 
Yes,  it's  something  of  a  romance  and  they  say  that  Greta  and 
Nils,  banking  on  their  European  popularity,  may  remain  in 
Sweden  and  make  pictures  together. 

"DUT  all  Greta  has  to  say  about  their  European  plans  is 
■^simply  this:  "Ven  ve  get  back  home,  Nils  vill  eat  himself 
to  death,  and  I  vill  sleep  myself  to  death." 

WHAT'S  this  I  hear?    Can  it  be  that  Norma  Talmadge  and 
Eugene  O'Brien  are  to  be  reunited  in  pictures?    As  you 
know,  Eugene  and  Norma  have  not  appeared  together  for 

Th  Studios 


Murder  in  the 
swamps  to  make  a 
sport  costume  for 
Leila  Hyams.  Leila 
is  wearing  alligator 
skin  shoes,  belt  and 
purse.  Also — what 
is  a  new  trick — an 
alligator  scarf  and 
alligator  trimming 
on  her  felt  hat.  It 
serves  thealligators 
right ;  they're  of  no 
value  when  alive, 

several  seasons,  although  they  were  a  popular  team  not  so  many 
years  ago.  And  now,  they  say,  Norma  will  summon  Eugene 
from  retirement  and  the  two  will  play  in  one  of  those  sweet  and 
sentimental  romances  that  made  them  famous.  Which  would 
indicate  that  Norma  is  tired  of  the  hot  stuff. 

Incidentally,  Norma  sneaked  off  to  Europe  to  visit  her  sister, 
Constance,  on  the  Riviera.  And  Gilbert  Roland  showed  up 
in  Europe  at  that  same  time. 

SO  much  has  been  said  about  Valentino's  home,  "Falcon's 
Lair,"  being  haunted,  that  S.  George  UUman,  formerly 
Rudy's  manager,  went  on  a  spook-hunting  tour,  the  idea  being 
to  intercept  ghosts  (if  any)  in  this  beautiful  home  that  keeps  a 
lonely  vigil  high  up  on  a  ridge  back  of  Beverly  Hills. 

Ullman's  psyphic  investigations  covered  two  nights.  The 
first  night,  armed  with  nothing  but  a  firm  determination 
to  stay  awake,  he  occupied  a  chair  in  Rudy's  bedroom,  hop- 
ing that  Rudy  would  return  and  have  a  little  chat  with  him. 
About  two  o'clock  in  the  morning,  however,  he  went  sound 
asleep  and  awakened  with  the  sun  shining  in  his  face,  his  only 
reward  a  stiff  neck.  He  was  greatly  disappointed,  naturally,  so 
the  following  night  he  tried  again,  and  managed  to  keep  awake. 

"Imagine  my  disappointment,"  said  he,  "when  Rudy 
not  only  did  not  show  up,  but  did  not  even  send  word — 
Rudy  nor  any  other  spook. 

"There  wasn't  a  rap  or  a  knock  or  a  lipping  table  or  a 
teetering  chair.  No  supernatural  phenomenon  of  any  sort 

Mary  Pickford's  bob  started  out  cautiously 
at  shoulder  length.  It  was  a  "compromise 
cut."  But  continual  snipping  reduced  it 
to  this.  Here  is  the  bob  you  will  see  in 
Mary's  first  talkie,  "Coquette,"  the  story 
of  a  very  modern  girl 

ADOLPHE  MENJOU  plans  definitely  on  making 
pictures  abroad.    He  is  so  definite,  in  fact,  that  the 
beautiful  home,  built  not  long  ago  for  his  bride,  is  for 
sale.     If  you  have  890,000  lying  around  loose  you  can 
have  the  thrill  of  owning  the  house  once  graced  by 
Menjou  and  Carver. 

I  saw  a  Russian  movie, 

So  cheery,  gay  and  Red. 
I  couldn't  wait  till  I  got  home 

To  kick  my  grandma  dead. 

MANY  a  merrie  quip  was  bandied  about  by  the  British 
editors  who  recently  visited  Hollywood,  en  masse.  For 
instance,  a  newspaper  photographer  placed  Charlie  Chaplin 
next  to  W.  J.  T.  Collins,  of  the  South  Wales  Argus,  the  idea 
being  to  make  a  most  distinguished  picture.  When  the  ordeal 
was  over,  the  editor  turned  to  the  comedian  and  asked,  "  I  say, 
would  you  mind  telling  me  your  name?"  Charlie  looked  a  bit 
embarrassed  and  finally  confessed  that  his  name  was  Chaplin. 
"My  gawd!"  exclaimed  the  astounded  .■\ustralian,  "I  thought 
you  wore  a  mustache!" 

JOHN  B.\RRYMORE  was  introduced  to  Alan  Pitt  Robbins. 
parliamentary  reporter  of  the  London  Titncs.  Very  gravely 
the  Barrymorc  took  the  Robbins  hand  and  remarked,  "What  a 
name,  what  a  name!'' 

H.  Bancroft  Livingstone,  acting  British  consul  at  Los 
Angeles,  sat  on  a  sofa  in  a  studio  dressing  room  for  half  an  hour 
with  D.  W.  GriflUh,  talking  profcmndly  of  this  and  that,  and 
when  GritVith  had  gone,  the  consul  asked :     "  Who  was  that?" 

"D.  W.  Griffith,"  someone  told  him. 

"He  never  told  me,"  said  the  consul  sadly. 


International  Newsreel 

The  surprise  marriage  of  the  season — Evelyn 
Brent  and  Harry  Edwards.  They  staged  an 
elopement  to  Tia  Juana,  Mexico,  thereby  cheat- 
ing their  friends  out  of  a  big  wedding  and  cele- 
bration. Mr.  Edwards  is  a  film  director,  and  so 
he  knows  a  good  actress  when  he  sees  one 

Not  just  a  publicity  picture  nor  a  search  for  the 
Lost  Chord.  Jeanette  Loff  really  can  play  the 
organ.  She  used  to  furnish  the  incidental 
music  to  pictures  in  movie  theaters  up  in  Oregon. 
And  now  Jeanette  supplies  the  inspiration  for 
her  fellow  members  of  the  Musicians'  Union 

LOOSE  talk:  Colleen  Mooie  is  going  to  make  a  talkie  and 
then  retire  from  the  screen.  Anyway  that's  the  story.  And 
Vilma  Banky  may  retire  temporarily,  for  a  very  interesting 
reason.  How  shall  we  go  about  telling  Doug  Fairbanks,  Jr., 
that  he  would  look  better  with  a  hair  cut?  Lilyan  Tashman, 
once  a  darned  good  show  girl  in  New  York,  has  gone  ritzy. 
Maria  Corda,  who  was  forgotten  for  awhile  after  she  was  not-so- 
hot  in  "Helen  of  Troy,"  was  welcomed  back  to  the  First 
Nation  al  Studio  with  flowers  and  cheers.  For  why?  The  news- 
papers had  it  that  Joan  Crawford  was  on  board  the  Celtic  when 
that  ship  went  on  the  rocks  off  the  Irish  coast.  But  calm  down, 
it  was  another  Miss  Crawford. 

'T^HE  sequel  to  the  button-maker's  story  has  just  come 
-*■  to  light. 

As  we  all  know,  according  to  humorists  and  disgruntled 
authors,  all  motion  picture  producers  were  once  pants 
pressers  or  button-makers. 

David  Selznick,  Paramount  producer,  stepped  into  a 
tailoring  establishment  on  the  boulevard  to  order  a  suit. 
He  fretted  about  while  the  minutes  sped  and  finally  said : 

"I  can't  wait  longer.  Send  a  man  down  to  the  studio  to 
take  my  measurements." 

"Sorry,  Mr.  Selznick,  ve  can't  do  that.  Ve  lost  two 
fitters  out  at  Metro-Goldwyn-Mayer  vhen  they  vent  out  to  fit 
Mr.  Thalberg." 

ONE  of  the  wisest  little  gals  in  the  business  is  Camilla  Horn. 
Every  week  she  puts  a  large  chunk  of  her  salary  in  a  nice, 
sturdy  German  sock.  She  is  living  at  the  beach  in  a  house  that 
rents  for  $100.  She  has  but  one  servant,  a  German  maid,  and 
although  she  always  looks  smart  she  does  not  spend  lavish 
amounts  of  money  on  her  clothes.  If  she  goes  back  to  Ger- 
many, it  will  be  to  live  in  a  castle — not  an  air  castle,  either — on 
the  Rhine. 

THREE  years  ago  the  midget,  little  Billy,  played  the 
Orpheum  in  Los  Angeles.  His  dresser  was  a  tall,  good  look- 
ing young  fellow  drawing  a  salary  of  $25  a  week.  The  lad  used 
to  pick  up  an  extra  dollar  or  so  by  running  errands  for  the  rest  of 
the  actors  on  the  bill. 

One  day  he  said,  "I  think  I'll  stay  in  California  and  try  my 
luck  at  pictures." 

The  boy  was  Charles  Farrell. 

'pjERE  are  a  couple  of  new  o.ies  to  add  to  your  dictionary 
of  talkie  slang :  Wild  shot^a  scene  that  is  silent.  Play 
back — the  voice  test  without  pictures. 

THE  talkies  are  making  strange  stars.  Just  now  there  is  a 
scheme  on  foot  to  make  a  big  picture  starring  plain,  fat, 
elderly  Schumann-Heink.  Mary  Pickford  is  all  for  making  it  a 
story  of  the  grand  old  lady's  own  life.  Mary  and  Madame  got 
so  worked  up  over  it  at  a  recent  reception  at  Pickfair  that  they 
sobbed  on  each  other's  shoulders. 

Warner  Brothers  have  a  contract  with  Schumann-Heink 
to  make  eight  song  subjects  for  $5,000.  But  the  contract  has 
been  rewritten  so  that  Madame  will  make  only  one — and  get 

AS  for  Mary  Pickford,  she  is  frankly  worried  about  finding 
an  ending  for  "  Coquette."  In  the  play,  the  girl  commits 
suicide.  Mary  feels  that  this  is  laying  on  the  tragedy  pretty 
thick  for  her  public.  So  there  probably  will  be  two  endings,  one 
for  the  big  cities  and  one  for  the  small  towns. 

WHEN  Ruth  Elder  left  Paramount  she  did  not  sink  into 
oblivion.  Instead  she  went  out  and  got  herself  a  job  as 
Hoot  Gibson's  leading  lady.  She's  determined  to  whip  this 
movie  game. 

Helpful  hint  to  housewives:  How  to  slice  onions 
without  getting  red  eyes — as  demonstrated  by 
Raquel  Torres.  Get  a  pair  of  aviation  goggles 
and  avoid  the  tears  that  often  spoil  all  the  fun 
of  a  steak-with-onions  dinner.  Things  like  this 
sometimes  keep  homes  from  breaking  up 

"Bubbles"  Stieffel  and  Reginald  Denny  had  a 
formal  wedding.  The  bride,  whom  you  know 
on  the  screen  as  Betsy  Lee,  wore  a  gown  of  white 
tulle,  with  a  bit  of  real  lace  forming  a  cap  effect 
to  hold  the  veil.  The  ribbon  chin  strap  was  held 
in  place  by  sprays  of  real  orange  blossoms 

It  appears  that  Ruth  and  the  western  star  are  that  way  over 
each  other  both  on  and  off  the  screen.  Hoot  leaves  his  spurs  at 
home  and  takes  Ruth  to  Mayfair  and  other  select  gathering 

IN  again,  out  again,  in  again  for  Esther  Ralston.  First  it  was 
announced  that  Paramount  would  renew  its  contract  with 
Esther.  And  then  negotiations  were  all  off.  A  week  later,  Emil 
Jannings  selected  her  as  leading  woman  in  his  new  picture. 

And  Robert  Castle  also  has  Jannings  to  thank  for  a  job. 
Castle,  whose  real  name  is  Fred  Sand,  was  brought  over  from 
Vienna  to  be  Clara  Bow's  leading  man.  But  the  lad  was  too 
tall  and  so  he  loafed  around  the  Paramount  Studio  for  months, 
before  Jannings  saw  him  and  gave  him  work. 

It's  a  habit  Jannings  has,  of  rescuing  players  from  idleness. 
Florence  Vidor's  contract  had  expired  when  Jannings  gave  her 
the  lead  in  "The  Patriot,"  thereby  boosting  Florence's  cause. 
And  Ruth  Chatterton  had  retired  from  the  stage  when  Jannings 
gave  her  a  start  in  pictures  in  "The  Sins  of  the  Fathers." 

THE  publicity  department  at  First  National  sent  out  an 
announcement  that  Ann  Schaeffer,  a  character  woman, 
been  given  a  role  in  Corinne  Griffith's  picture  "Saturday's 
Children."  Behind  this  announcement  lies  a  heart  throb  stor>-. 
Years  ago  a  pretty  young  girl  was  given  a  small  bit  at  the  old 
X'itagraph  Studios.  One  of  the  stars  felt  sorry  for  the  child 
and  showed  her  the  rudiments  of  a  screen  make-up.  The  un- 
known girl  was  Corinne  Griffith.  The  great  star  was  Ann 

NOT  very  long  ago  one  of  those  lovely  friends  found  Johnny 
Mack  Brown  and  said  with  a  niy-my-you-don't-look-so- 
well  expression,  "Well,  Johnny,  my  boy,  the  talkies  will  leave 
you  high  and  dry.  That  southern  accent  of  yours  will  ruin  you." 

Johnny  felt  pretty  bad  about  it.  Now  he's  playing  the  lead 
with  Mary  Pickford.  He  was  chosen  simply  because  of  the 
southern  accent. 

As  a  matter  of  fact,  he  is  not  the  exact  type  for  the  lead  in 
"Coquette,"  but  he  makes  his  "r's"  sound  like  "a's"  and  his 
"g's"  like  nothing. 


ORE  new  talkie  similes: 
on  a  sound-proof  stage." 

"As  welcome  as  hay-fever 

LORD  ALLENBY,  the  hero  of  Jerusalem  during  the  World 
War,  visited  Hollywood  rccentl\-.  And  here's  a  nice  storx 
that  shows  the  modesty  of  real  heroes. 

Speaking  with  one  of  his  friends,  he  said,  "Ah,  you  know, 
they're  remarkable,  these  cinema  stars.  Really  wonderful.  1 
mean  .  .  .  Mr.  Chaplin,  and  Mr.  and  Mrs.  Fairbanks,  you 
know.    Really  wonderful  people." 

Amazed  at  the  praise  from  this  man,  the  friend  commented, 
"Why,  yes.  I  suppose  they're  quite  fine  people.  But  how  do 
you  mean,  so  wonderful?" 

"  Why,  just  imagine!  These  famous,  great  people,  these  Fair- 
bankses  and  Chaplins,  who  are  known  all  over  the  world, 
bothering  themselves  to  be  nice  to  me  .  .  .  talking  to  ordinary 
folks  just  as  though  they  were  one  of  us!" 

PROOF  that  Hollywood  is  getting  to  be  a  city.     The  con- 
versation takes  place  between  Raymond  Hatton  and  his  new 
director,  Paul  Stein,  whom  he  had  never  met  before. 
Mr.  Stein:     "Do  you  live  in  Hollvwood?" 
Mr.Hatton:     "Ycs;doyou?" 

Mr. Stein:  "I'll  be  glad  to  take  you  home.   Where  do  \ou  live?" 
Mr.Hatton:    "  1356  Juniper  Street." 

Mr.  Stein:  "  So  you're  the  neighbor  with  the  loud  radio  and 
the  dog  that  barks  all  night!    I  live  at  1.557  Juniper!" 

[  CONTINTED  ON  P.\GF,  82  ] 



ot  Like 

"I  never  can  hope  to  do  the  type  of  thing 
Dad  does.  I  have  neither  the  physical 
energy  nor  the  dominance.  I  don't  look  like 
him.  I  don't  think  like  him.  I  love  him 
devotedly,  yet  we  are  often  constrained  with 
each  other" 



Douglas  Fairbanks,  Jr.,  plays 
L'Aiglon  to  his  father's 
Napoleon.  A  story  of  great 
love  and  little  understanding 

Eloise  Bradley 

DOUGLAS  FAIRBANKS,  JR.,  slept  all  night  on  a  park  bench- 
just  to  see  what  it  was  like! 
He  set  up  pins  in  a  bowling  alley  and  jerked  sodas  behind  a 
drug  store  counter — all  for  the  experience.     But  his  reputation 
in  Hollywood  is  that  of  being  high  hat.    He  cannot  cope  with  the  back- 
slapping,  ready  democracy  of  the  film  colony. 

He  is  morbid,  philosophic,  poetic,  and  his  ambition  is  to  have  it  said 
of  him  when  he  dies,  "He  was  a  great  artist." 
To  him  the  only  realities  are  the  unrealities. 
This,  you  see,  is  the  artist's  viewpoint. 

Now  contemplate  his  famous  father,  the  Ambassador  of  Optimism,  the 
Man  of  Deeds.  Doug,  the  elder,  has  a  gift  for  assembling,  for  gathering 
together  men  with  fine  minds  and  for  getting  the  best  out  of  them.  He 
gives  promise  of  being  a  producer,  a  doer,  and  like  men  of  this  rugged, 
virile  type,  is  ashamed  of  sentimental  emotions,  the  same  sentimental 
emotions  that  come  under  young  Doug's  keen  analysis. 

Once  the  father  and  son  were  at  the  same  gathering.  There  was  an 
elderly  lady  sitting  in  the  corner  alone.  Doug,  Sr.,  went  over  to  her  and 
asked  her  to  dance. 

DOUG,  JR.,  sitting  apart  in  a  speculative  mood,  thought  it  quite  splen- 
did of  his  father  and  smiled  at  him  across  the  room.  The  older  man 
frowned  and  blushed.  He  was  ashamed  that  his  son  had  discovered  him 
in  a  generous  moment. 

They  are  rather  pitiful  together,  father  and  son.  They  have  a  great 
love,  but  little  real  understanding. 

"I  have  been  both  helped  and  handicapped  by  a  famous  father,"  said 
the  boy.  "He  has  given  me  a  fine  inheritance,  but  the  situation  has  left 
me  protected  yet  not  protected.  I  feel  as  if  a  wall  were  around  me.  I 
can  just  see  over  the  top. 

"When  I  first  started  in  pictures  they  played  me  to  look  just  like  Dad. 
They  were  trading  on  his  name  and  I  resented  that.  I  was  never  given 
credit  for  being  an  individual,  yet  I  never  can  hope  to  do  the  type  of 
thing  that  Dad  does.  I  have  neither  the  physical  energy  nor  the 

"I  don't  look  like  him.  I  don't  think  hke  him.  I  love  him  devotedly, 
yet  we  are  often  constrained  with  each  other. 

"He  is  embarrassed  when  I  thank  him  for  anything  he  has  done  for 
me.  At  Christmas  time  he  runs  out  of  the  room  when  I  tell  him  that  I 
appreciate  my  gifts,  and  whenever  I  do  anything  that  he's  proud  of,  he 
just  gives  me  a  friendly  little  shove  and  mumbles  something  about  my 
being  a  good  kid." 

Upon  Doug,  Jr.'s,  artistic  life  the  influence  of  John  Barrymore  has 
been  greater  than  that  of  his  father.    He  is      [  continued  on  page  90  ] 


/LATEST    photograph    of    Our    Weakness.      Greta    Garbo    in    a 
^    Javanese  bridal  gown.     Greta  wears  this  costume  in  the  last 
_  V^  picture  she  made  in  this  country  before  departing  for  that  too- 
distant  Sweden,    And  we  won't  have  one  happy  moment  until  she 




JOAN  OF  ARC—Societe  Generate  de  Films 

THIS  film  has  been  shown  in  France,  Germany  and  Den- 
mark but  barred  by  the  British  censor.  It  is  too  stark 
and  realistic  for  general  release  here — and  yet  it  is  one  of  the 
significant  milestones  of  film  progress. 

"Joan  of  Arc"  does  not  relate  the  whole  story  of  the  Maid 
of  Orleans.  It  concerns  itself  only  with  her  last  hours — of 
her  trial,  her  recantation,  her  death  at  the  stake.  Back- 
grounds are  almost  completely  dispensed  with  and  the  tragic 
panorama  of  history  is  told  entirely  in  close-ups.  The  per- 
formance of  Mile.  Falconetti  as  Joan  is  one  of  those  rare  and 
beautiful  things  of  the  films,  a  magnificent  rendering  of  an 
overwhelming  role. 

"Joan  of  Arc"  is  for  serious  observers  of  the  screen. 
Carl  Dreyer,  the  director,  will  bear  watching.  He  has  cine- 
matic genius. 


THIS  picture  seems  to  be  the  "ace  of  the  air  epics." 
There's  no  movie  plot,  no  "situations,"  no  "props." 
Based  on  an  episode  lifted  from  naval  life,  the  story  glorifies 
young  American  manhood.  The  story  opens  with  six  mid- 
shipmen being  graduated  at  AnnapoHs.  The  San  Diego  flying 
base  tests  eliminate  three.  Weeks  of  gruelling  air  training 
follow  at  Pensacola;  one  crashes,  and  the  remaining  two, 
now  full-fledged  sea  hawks,  prepare  in  San  Diego  for  the 
first  Honolulu  flight.  A  "splashing"  climax  is  reached  when 
the  giant  hydroplane  volplanes  into  the  sea. 

Ramon  Novarro,  Gardner  James,  Ralph  Graves  and 
Carroll  Nye  each  have  probably  the  most  quietly  dramatic 
but  most  strenuous  roles  of  their  respective  careers.  George 
Hill,  the  director,  has  done  well. 


(REG.  U,  3.  PAT.  OFK.)     M  ^ 

A  Review  of  the  New  Pictures 


THIS  picture  makes  the  most  effective  and  intelligent  use 
of  sound  and  conversation  yet  displayed.  It  points  the 
way  to  bigger  and  better  talkies.  The  Fox  Movietoners 
have  learned  how  to  blend  sound,  conversation,  laughter  and 
music  to  produce  dramatic  effect.  A  braying  donkey,  for 
instance,  furnishes  a  novel  obligato  to  vital  conversation, 
and  clattering  hoofs,  cracking  whips  and  rattling  vehicles 
combine  in  a  symphony  that  pleases  the  eye  and  the  ear. 

Raoul  Walsh  started  to  direct  this  but  a  jackrabbit 
jumped  in  his  eye  and  Irving  Cummings  had  to  finish  it. 
Both  deserve  much  credit.  Except  for  one  scene,  the  story 
flows  with  fluid  smoothness.  The  dramatic  significance  of 
one  of  the  most  important  scenes  is  marred,  however,  be- 
cause a  director  could  not  resist  moving  his  camera  to  get  a 
different  angle. 

The  outstanding  performance  is  given  by  Warner  Baxter 
as  the  singing,  laughing  Cisco  Kid,  a  fascinating  and  gallant 
bandit.  Dorothy  Burgess,  who  comes  to  the  screen  from  the 
stage,  brings  an  excellent  voice  and  a  film  personality  that 
promise  much  if  she  holds  the  pace  of  this  Mexican  temptress 
who  plays  with  the  hearts  of  a  soldier  and  a  bandit. 

The  picture  is  based  on  the  O.  Henry  story,  "A  CabaUero's 
Way,"  and  it  tells  how  a  sure-shooting,  lady-loving  army 
sergeant  and  two  soldiers  are  sent  into  a  section  of  the 
frontier  West  to  "get"  a  bandit  who  is  terrorizing  the 
countryside.  Edmund  Lowe  gives  a  neat  and  What-Price 
Gloryish  performance  as  the  sergeant.  The  ending  of  the 
story  preserves  all  of  the  O.  Henry  artistry  and  throughout 
it  has  a  flavor  that  stamps  it  as  exceptional  entertainment. 


The  Best  Pictures  of  the  Month 





The  Best  Performances  of  the  Month 

Mile.  Falconetti  in  "Joan  of  Arc" 

Lupe  Velez  in  "Lady  of  the  Pavements" 

William  Powell  in  "The  Canary  Murder  Case" 

Esther  Ralston  in  "The  Case  of  Lena  Smith" 

Doug  Fairbanks  in  "The  Iron  Mask" 

Warner  Baxter  in  "In  Old  Arizona" 

Dorothy  Burgess  in  "In  Old  Arizona" 

Phyllis  Haver  in  "The  Shady  Lady" 

Casts  of  all  photoplays  revieived  will  he  found  en  page  134 

THE  IRON  MASK— United  Artists 

ACTION,  action,  action — more  action!  That  tells  the 
story.  It  is  adroit.  It  is  imaginative.  It  is  resplendent. 
Sets  are  marvelous,  crowds  give  great  mass  movement. 
There  is  the  characteristic  Fairbanks  breadth  and  sweep  and 
stunts.    And  it  is  his  best  job  of  story-telling. 

The  story  begins  some  years  after  the  close  of  "The  Three 
Musketeers."  These  rollicking  adventurers  come  back,  and 
with  them  D'Arlagnan,  also  the  crafty  Richelieu,  and  Con- 
slance,  the  beautiful  lady  in  waiting  to  the  Queen.  And 
Milady  De  Winter — that  gorgeous  role  which  made  Barbara 
La  Marr  famous — played  by  Dorothy  Revier,  who  makes  a 
splendid  and  vicious  De  Winter. 

The  story  has  to  do  with  Cardinal  Richelieu's  misguided 
efforts  to  protect  France  by  banishing  one  of  the  twin  sons 
of  King  Louis  XIII .  He  fears  that  two  kings  on  the  throne 
may  precipitate  revolution.  In  trying  to  dispose  of  Con- 
stance, who  knows  twin  sons  were  born,  Richelieu  brings  upon 
himself  the  wrath  of  D'.lrtagnan  andthe  Three  Musketeers. 
The  Cardinal  finally  forces  the  separation  of  the  Musketeers, 
but  they  foregather  twenty  years  later  and  save  the  ruling 
king  from  his  scapegoat  twin  brother  who  attempts  to  usurp 
the  throne.  In  this  adventure  they  lose  their  lives — even 
D'Artagnan — butnotuntilthey  thwart  the  banished  brother's 
murderous  scheme  and  make  him  prisoner  for  life  as  "The 
Man  In  the  Iron  Mask." 

Young  William  Bakewell  does  the  dual  role  of  the  twins. 
Loud  cheers,  please.  Others  of  the  original  cast  do  well. 
Fairbanks  gives  us  D'.Artagnan  artistically  done,  particularly 
the  aged  D'Artagnan.     Don't  miss  it. 


T)HILO  V.ANCE,  Sherlock  Holmes'  logical  successor,  was  a 
^  happy  choice  for  William  Powell's  first  starring  character- 
ization. The  well  knit  story  lends  itself  perfectly  to  e.xciting 
screen  entertainment.  It  is  a  relief  to  see  a  good,  honest  murder 
built  with  the  precision  of  a  mathematical  proljlem.  There  is 
no  court  room  scene.  There  are  no  gag  reporters.  Praise 
the  Muses!     It's  a  well  constructed  yarn  of  the  old  school. 

Director  Mai  St.  Clair  had  a  job  when  he  undertook  to 
identify  so  many  principal  characters.  One  of  the  most  in- 
triguing moments  is  when  Philo  Vtincc  plays  a  friendly  game 
of  poker  to  determine  the  psychological  reaction  of  each 

William  Powell  is  superb.  The  rest  of  the  players,  includ- 
ing Louise  Brooks,  Jean  Arthur,  James  Hail,  Charles  Lane, 
Clustav  Von  Seyffertitz  and  many  others,  win  credit. 

THE  CASE  OF  LENA  SMITH— Paramount 

THIS  is  Paramount's  answer  to  the  cry,  "Please,  Mister 
Producer,  send  us  a  good  picture  that  doesn't  talk."  For 
that  reason  alone  you  should  see  it.  It's  unconventional, 
much  is  left  to  the  imagination  and  the  seams  and  raw  edges 
of  life  show  through. 

A  peasant  girl  goes  from  her  native  village  to  Vienna  be- 
cause she  wants  pretty  clothes.  She  secretly  marries  a 
profligate  army  officer,  bears  him  a  child,  becomes  a  servant 
in  the  home  of  his  imperialistic  and  uncompromising  father, 
provokes  the  father's  wrath  and  eventually  exposes  him  as  a 
tyrant  because  he  attempts  to  take  her  child. 

As  the  adventuring  peasant  girl,  Esther  Ralston  is  superb. 
Gustav  Von  SeyfTertitz  is  admirable  as  the  father,  and  Fred 
Kohler  is  fine  as  the  spurned  village  lover. 


Watch  Photoplay's  New  Sound  Reviews 

— United 

— Paramount 

HONORS  for  Lupe  Velez!  This  startling  personality  with 
the  emotional  mechanism  of  a  great  actress  75  the  picture. 
In  this  slight  story,  concerning  the  French  Court,  revenge  and 
diplomacy,  D.  VV.  Griffith  misses  many  chances  for  that  fine 
poignancy  which  characterized  his  earlier  work.  Jetta  Goudal 
is  as  strangely  fascinating  as  ever,  William  Boyd  is  pale,  but 
Lupe  gives  a  magnificent  performance. 

CLARA  BOW  gives  a  lively  humor  to  this  weak  little  yarn  of 
a  cabaret  girl  who  falls  in  love  with  a  handsome  young  chap. 
She  thinks  he  is  a  millionaire,  but  he  turns  out  to  be  just  an 
everyday  insurance  agent.  The  story  lets  Clara  appear  in 
cabaret  scanties,  in  step-ins  and  in  snug  bathing  garb.  And 
she  gives  a  brisk  and  hearty  performance.  Nevertheless,  the 
film  isn't  Clara  at  her  best. 





THE  story  opens  in  a  government  Indian  school.  If,  from 
that,  one  can't  tell  how  it  is  going  to  end  your  head  is  as 
empty  as  the  Grand  Canyon.  The  hero,  Richard  Dix,  is  not 
accepted  by  the  whites.  His  tribe  renounces  him,  but  he  wins 
the  girl.  Not  even  the  magnificent  color  sequences,  nor  the 
fact  that  oil  gushes  from  volcanic  rock  for  the  first  time  in 
history  saves  "  Redskin  "  from  mediocrity. 

IF  this  story  were  as  good  as  the  work  of  the  players,  it  would 
be  one  of  the  best  of  the  month.  An  American  girl,  involved 
in  a  murder  case,  flees  to  Havana  and  becomes  entangled  with 
two  ruthless  gunrunners.  Phyllis  Haver,  as  the  girl,  gives  a 
cool,  poised  characterization.  Robert  Armstrong  and  Louis 
Wolheim,  gunrunners,  are  forceful  and  delightful.  Some 
mystery  and  much  keen  comedy. 



First  National 

AFTER  such  a  beautiful  production  as  "Lilac  Time"  and 
such  an  amusing  yarn  as  "Oh  Kay,"  Colleen  Moore's  new- 
est effort  falls  flat.  It  concerns  a  nice  girl  who,  in  order  to 
become  a  great  actress,  goes  to  New  York  and  to  sin.  It's  a  gag 
picture,  with  Colleen  performing  her  usual  antics  and  perform- 
ing them  unusually  well.  But  antics  alone  don't  make  a  pic- 
ture.   For  Moore  fans  only.    Antonio  Moreno  has  the  lead. 




m                  ^^mKK^-^'       '•'"'J 


WmL^^m.m  I 

'            0" 


THE  moral  is:  Don't  buy  Rocky  Mountain  Copper  unless 
you're  sure  that  the  wall  street  wolf  is  entangled  in  matri- 
monial difficulties.  You've  guessed  it.  It's  about  a  financial 
genius  who  watches  tickers  and  takes  suckers'  money  and 
doesn't  care.  It's  a  disappointment  after  the  fine  work  done  by 
George  Bancroft  in  other,  and  more  virile,  pictures.  Baclanova, 
too,  has  little  chance  to  show  her  talents. 

for  the   Latest  Talkie   Developments 





THEY'VE  achieved  the  realism  they  apparently  were  striv- 
ing for,  in  this  futile  story  of  stokers  and  waterfront  women, 
but  a  little  of  Victor  McLaglen's  ribaldry  goes  a  long  way. 

In  the  stokehole,  he  moons  over  a  "  loidy  "  three  decks  above, 
but  finds  she's  a  crook,  decides  to  forget  her,  and  goes  back  to 
Singapore  Sal. 

Clyde  Cooke,  as  the  hero-worshipping  satellite,  is  the 
comedy  relief. 

You  will  find  that  this  picture  will  look  to  you  strangely 
reminiscent  of  "Docks  of  New  York,"  without  its  artistic 

ADRIENNE  LECOUVREUR"  adapted  in  semi-modern 
style.  Just  another  variation  of  the  prince  who  loves  a 
poor  girl  but  can't  marry  her  because  of  his  blue  blood. 
Perhaps  some  day  one  of  these  princes  may  show  less  control 
and  marry  the  girl.  The  story  becomes  a  parade  of  stuffed 
uniforms,  hundreds  of  extras  as  nobles,  peasants,  gypsies  and 

Joan  Crawford  is  Adricnue.  She  should  be  cast  in  brisk 
modern  roles. 

Nils  Asther  is  the  prince. 

The  picture  is  as  phony  as  they  come. 

[  Additional  reviews  of  latest  pictures  on  page  76  ] 

Sound  Pictures 





FOX 'S  first  all-talking,  feature  length  farce-comedy  introduces 
the  stage  favorites,  Helen  Twelvetrees  and  Charles  Eaton. 
The  story  is  cleverly  built  around  the  comic  antics  of  a  corre- 
spondence school  detective  and  is  splendid  for  its  entertaining 

Eaton  is  the  amateur  detective  and  his  voice  fits  the  blank 
face  perfectly.  Helen  has  to  "lisp,"  so  hers  is  hardly  a  fair 
voice  test. 

Carmel  Myers  has  only  a  bit,  but  the  charm  of  her  speak- 
ing voice  is  apparent. 

Plenty  of  laughs. 

THE  LION'S  ROAR— Educational 

IF  you  like  Mack  Sennett  comedies,  you'll  like  this  one  better 
with  sound — and  talking. 

Now  you  wiU  hear  the  shrieks  of  the  beautiful  heroine  as 
she  flees  from  the  roaring  lion,  and  the  swish  of  the  custard 
pie  as  it  plops  the  unhappy  saxophone  player  squarely  between 
the  eyes. 

It's  the  same  Sennett  comedy  formula,  this  time  with  the 
stalking  lion  to  help  provide  the  noise. 

EDDIE  CANTOR  seems  a  real  bet  for  the  cinema.    Indeed, 
he  appears  to  be  the  only  possible  contender  to  Al  Jolson 
anywhere  on  the  horizon. 

In  "That  Party  in  Person"  he  does  a  brisk  turn,  several 
nervous  songs  and  gets  neat  assistance  from  a  cute  trick,  one 
Bobbie  Arnst. 

Cantor  is  going  to  do  more  talkies,  we  hope.  His  style  is 
exactly  suited  to  the  sound  films. 


A  SHORT  talkie  of  a  spendthrift  British  lady,  her  husband 
and  the  butler,  who  offers  to  provide  his  employer  with  the 
necessary  divorce  evidence.  These  three  compose  the  en- 
tire cast. 

Lowell  Sherman  is  the  suave  butler  and  the  other  two  roles 
are  placed  in  the  hands  of  Cyril  Chadwick  and  Betty  Fran- 

This  sketch  has  no  particular  American  movie  appeal.  But 
you'll  see  a  lot  more  of  these  experimental  bits  while  the 
movie  moguls  monkey  with  their  bright  new  plaything,  the 



Six  authors  in  search 
of  Inspiration.  It's  a 
great  Hfe.  If  the  pic- 
ture is  good,  the  direc- 
tor gets  the  credit.  If 
it's  bad,  the  story  is  to 

Waldemar  Young  used  to 
be  a  newspaper  man 
himself.  So,  in  his  office, 
he  must  catch  the  city 
rooni  atmosphere  before 
he  can  write.  This  may 
easily  be  achieved,  even 
by  the  amateur,  by 
throwing  newspapers, 
matches  and  cigarette 
stubs  on  the  floor.  Mr. 
Young  is  plotting  hor- 
rible doings  for  Lon 
Chaney  in  "Where  East 
Is  East" 


Dorothy  Farnum,  spe- 
cialist in  romantic 
dramas,  must  Throw 
Herself  Into  the  Mood. 
Nothing  helps  a  Mood  so 
much  as  a  chaise  longue 
and  a  luxurious  negligee. 
And,  of  course,  Music. 
When  writing  love  scenes. 
Miss  Farnum  plays  "Kiss 
Me  Again."  And  again 
and  again 

Helping  Mamma  —  Agnes 
Christine  Johnson  and  Her 
Gang.  Ladies  who  would  "do 
big  things  if  it  weren't  for  the 
children,"  please  take  notice. 
Mrs.  Frank  Dazey,  one  of  the 
most  successful  script  writers, 
works  in  the  nursery.  If  you 
look  elsewhere  in  this  issue, 
you'll  find  a  charming  short 
story  by  Miss  Johnson 

of  a 


Showing  the  devastating  effect  of  Gilbert 
Garbo  subtitles  on  Miss  Ruth  Cummings. 
When  Miss  Cummings  wants  to  think  of 
something  sweet  for  John  to  murmur  to 
Greta,  she  orders  up  a  flock  of  chocolate  sodas 
from  the  studio  lunch  room.  Miss  Cum- 
mings wrote  the  titles  for  "A  Woman  of 
Affairs,"  and  after  she  finished,  there  wasn't 
a  spoonful  of  chocolate  ice  cream  left  in 
Southern  California 

Thewhole  M.-G.-M.  Studio 
was  once  thrown  into  a 
panic  because  one  of  Joseph 
W.  Farnham's  cleverest 
subtitles  was  sent  to  the 
laundry  by  mistake.  Mr. 
Farnham  asks  for  no  office, 
no  typewriter,  no  station- 
ery. Give  him  a  sharp  pencil 
and  a  clean  cuff  and  he's 
ready  to  go  to  work 

Give  'em  noise.  Give  'em 
excitement.  Byron  Morgan, 
author  of  college  stories, 
works  with  sound  effects. 
Mr.  Morgan  supplies  the 
words;  Ann  Price  and  Ray 
Doyle,  two  fellow  writers, 
contribute  the  music.  When 
this  boy  gets  to  work,  the 
neighbors  for  five  miles 
around   close   the  windows 


Unfortunate    occurrence    when    a    talking 

picture  "voice  double"  consents  to  make  a 

personal  appearance  at  a  movie  theater 

Take  Your  Choice 

Bemoan  the  lot  of  Canon  Chase, 
Who  thinks  that  films  will  rot  the  racel 
We  hear  him  try,  with  godly  glee. 
To  scream  them  into  purity. 
While  all  the  lovely  movie  ladies 
Still  lead  us  liappily  to  Hadesl 
We  face  the  issue  full  o^  fear, 
And  yet  the  public's  choice  is  clear — 
Miss  Alice  White  in  scant  apparel, 
Or  Bull  Montana  in  a  barrel! 

The  Gag  of  the  Month  Club 

The  cashier  of  a  small  movie  house  is  selling  tickets  ai;  a  pal 
looks  on. 

A  customer  buys  a  quarter  ducat,  lays  down  a  half  dollar  and 
walks  away  leaving  his  change. 

"Does  that  often  happen?"  asks  the  cashier's  friend. 

"Very  often,"  replies  the  ticket  seller. 

"What  do  you  do  in  a  case  like  that?" 

"Oh,"  says  the  man  in  the  wicket,  "I  always  rap  on  the  window 
with  a  spongi !" 

For  this  Variety  gets  the  crepe  de  chine  ear  muffs  offered  for 

Snickers,  Snorts  and  Snores 

Paul  Whiteman  is  to  get  $500,000  for  a  talking  picture  .  .  . 
That  is  approximately  $1,000  a  pound  for  Oom  Paul,  on  the 
hoof,  F.  O.  B.  Broadway  .  .  .  Describing  a  Hollywood  pro- 
ducer, a  mad  wag  says  .  .  .  "He's  a  great  little  guy  .  .  .  Got 
a  heart  as  big  as  his  nose."  .  .  .  Ireland  is  to  have  its  own 
film  producing  company,  reports  Washington  ...  It  is  re- 
ported that  Patrick  J.  O'Zukor  and  Michael  O'Laemmle  are 
interested  .  .  .  Paramount  is  making  talkies  at  Astoria,  Long 
Island  .  .  .  Paramount's  resulting  slogan  .  .  .  "Astoria  Pic- 
tures— Babies  Cry  at  Them"  ...  A  film  critic  calls  her 
"Dolores  Dull  Rio"  .  .  .  My  one  line  review  of  Norma  Tal- 
madge's  latest  film,  thanks  to  the  theme  song  .  .  .  "Woman 
Disputed,  I  Hate  You"  .  .  .  How  they  make  a  movie  master 
of  ceremonies,  according  to  Carl  West  of  Detroit  ...  If  a 




W  I 


Leonard  Hall 

well-dressed,  curly-haired  pretty  boy  comes  to  town,  they 
throw  a  stick  at  him  ...  If  he  catches  it,  he's  a  master  of 
ceremonies  .  .  .  Warner  Brothers  finishes  a  talking  picture 
in  three  languages  .  .  .  This  is  probably  it  .  .  .  "Willst  du 
ein  trink  haben?"— "Qui!"— "Try  and  get  it!"  ...  Ah  well, 
money  makes  the  Metro-Goldwyn-Mayergo! 

"Broadway  Melody" 

"While  working  in  'Broadway  Melody,'  Anita  Page  had  an 
attack  of  hysterics  on  the  set,  followed  by  a  nervous  collapse,  and 
had  to  be  taken  home." — News  note. 

My  guess  is  that  the  studio  fiddler  began  it  all  by  playing 
"Sonny  Boy." 

Getting  Personal 

John  Barrymore  gave  his  age  to  the  license  clerk  as  41  .  .  . 
The  book  says  he  was  born  Feb.  15,  1882  .  .  .  Try  that  on 
your  abacus  .  .  .  Denying  a  line  here  last  month,  Neil  Ham- 
ilton's secretary  says  the  actor  doesn't  even  know  Mary 
Nolan  .  .  .  Well,  tough  luck,  Neil,  say  we  .  .  .  Cupid  has  the 
flu  in  Hollywood,  and  all  we  have  to  whisper  is  that  Gary 
Cooper  and  Lupe  Velez  and  Bert  Lytell  and  Claire  Windsor 
are  seen  together  at  some  of  the  best  soda  fountains  this 
winter  .  .  .  Jackie  Coogan,  at  $3,000  a  week,  was  not  a  hit  in 
London  .  .  .  And  neither  was  his  old  man  .  .  .  Talkie  actors 
say  that  "Mike  Fright"  is  worse  than  "Kleig  Eyes"  .  .  . 
Dorothy  Sebastian's  nickname  is  "Alabam"  .  .  .  Lillian  Gish 
mi.xes  only  one  cocktail  at  a  time,  using  an  ordinary  tumbler 
and  a  tea  spoon  .  .  .  She  doesn't  drink,  the  cocktail  being  for 
the  boy  friend  .  .  .  Incidentally,  Lil,  since  her  return  from 
Germany,  has  been  wearing  fifty  pounds  of  ice  on  her  left  hand 
...  Go  on  and  guess  .  .  .  Phyllis  Haver  cleaned  up  on 
Mexican  Seaboard  Stock  .  .  .  Bought  at  26  and  sold  in  the 
upper  sixties  .  .  .  Stocks  and  Blondes,  to  steal  a  movie  title 
.  .  .  Incidentally  Phyllis,  when  she  likes  anyone,  always  says 
"He's  a  honey!"  .  .  '.  There  are  8,000  male  actors  (?)  in  Holly- 
wood, and  only  25  are  blondes  ...  Of  these,  12  are  leading 
men  and  13  are  extras  .  .  .  Bleach  and  go  west,  young  man! 
....  "Sonny  Boy"  has  been  recorded  55  times  as  we  go  to 
press  .  .  .  My  God,  is  that  all?  .  .  .  Miss  Margaret  Johnson, 
17,  of  224  West  Brown  Street,  Morristown,  Pa.,  spent  $40 
trying  to  long-distance  her  idol,  Clara  Bow,  in  Hollywood  .  .  . 
Miss  Bow  was  on  location  at  the  time  .  .  .  That's  plumb  dis- 
couragin'  .  .  .  Carmel  Myers,  the  Rose  of  Sharon,  has  written 
the  words  of  a  pop  ballad  called  "Everything  That's  Nice  to 
Me"  .  .  .  Published  by  Mills  .  .  .  Lupe  Velez  laid  down  $100 
for  three  pairs  of  evening  slippers  a  while  back  .  .  .  Ruby 
and  diamond  heel  sort  ...  A  movie  elephant  in  Hollywood 
gets  $150  a  day  and  $1.50  in  India  .  .  .  But  what  fun  can  an 
elephant  have  in  India? 

Ruth  Harriet  Louise 

/NTRODUCING  a  girl  named  Dorothy  Penelope  Jones,  who  is  fifty  per  cent  pure 
American     Dorothy  is  half  Cherokee  Indian  and  Jones  is  an  old  tribal  name.    The 
movies  have  re-christened  her  Dorothy  Jams,  and  it  is  under  that  name  you  will 
find  her  in  the  cast  of  "The  Pagan."     Incidentally,  she  is  one  of  the  smallest  girls  in 
pictures   being  only  four  feet,  eleven  inches  tall  and  weighing  ninety-four  pounds 

Costumes  with  the 

Hollywood  chal- 
lenges Paris  to 
create  a  more  inter- 
esting collection  of 

Joan  Crawford  in  a 
sedate  mood  that  was 
evoked  by  this  charm' 
ing  and  conservative 
dress  by  Howard 
Greer.  It  is  of  black 
moire  and  it  has  a 
molded  hip  Hne,  only 
broken  by  a  bow  on 
the  left  side.  With 
this  formal  gown,  Miss 
Crawford  wears  no 
jewels  except  a  pair  of 
crystal  bracelets 

This  dress  is  printed 
white  velvet  and  it 
has  a  scarf  caught 
on  the  right  shoulder 
with  a  bunch  of  camel- 
lias. The  neckline  is 
high  in  the  front  and 
low  in  the  back,  which 
is  a  habit  of  evening 
gowns  these  days 

A  really  stellar  evening  gown. 
Adrian,  its  creator,  has  named  it 
"Nordic  Night."  The  sequins  and 
crystal  beads,  embroidered  on  the 
white  souffle  background,  rep- 
resent icicles.  The  gown  has  a 
long  narrow  panel  in  the  back, 
falling  in  train  effect.  Rhinestone 
slipper  buckles  and  diamond  brace- 
lets add  to  the  glittering  ensemble 




A  dress  for  a  mystery  play,  designed  by 
Adrian.  Just  the  thing  to  wear  if  you  are 
going  to  steal  the  letters.  Adrian  calls  it 
"The  Toga,"  in  deference  to  the  Romans. 
It  is  fashioned  of  rayon  velvet  and  the 
whole  secret  of  its  success  is  in  its  artful 
draping  and  the  long,  flowing  scarf  which 
extends  from  the  elbow  to  the  hemline 

This  is  the  evening  coat  that  Miss  Craw- 
ford wears  with  "Nordic  Night."  The 
coat  is  of  white  satin  with  a  huge  stand-up 
collar  and  wide  cuffs  of  white  fox  fur. 
The  circular  skirt  is  embroidered  with  a 
particularly  beautiful  design  in  silver.  The 
coat,  too,  has  a  sweeping  panel  in  the 
back  to  synchronize,  as  it  were,  with  the 
tram  of  the  gown 

Not  all  of  Hollywood's 
frocks  are  beyond  the 
purse  or  the  person- 
ality of  the  average 
girl.  Some  of  the  best 
movie  designs  are  both 
youthful  and  simple; 
as  witness,  this  sport 
costume  by  Greer.  It 
is  a  light  grey  camel's 
hair  with  an  upside- 
down  fleur-de-lis  pat- 
tern of  red  jersey  that 
edges  the  jumper  and 
forms  a  panel  design 
on  the  front  of  the 

Photos  by 

Ruth  Harriet 


J?  IW 


yQAN  this  be  Ruth  Taylor?  And  can  it  be  that  she  is  wearing  a  costume  left  by 
/  Pola  Negri  on  her  departure  for  Europe?  And  the  futuristic  background,  what  do 
V^'  you  make  of  that,  Watson?  Ruth  is  getting  into  the  atmosphere  of  her  new  picture, 
"Young  Sinners,"  which  relates  the  romance,  joys  and  piquant  problems  of  one  of  those 

ultra-modern  girls 

list  a 

Hollywood  Day 

Herb  writes  a  letter  to  the  editor 

and  tells  how  hard  a  journalist 
has  to  work  when  he's  tracking 


Herb  Howe 

down  news 

Hollywood,  Calif. 

DEAR  Jiu: 
You  ask  me  for  a  little  dirt — well,  I'm  surprised! 
You  know  very  well  that  Greta  Garbo  and  I  are  the 
most  aloof  people  in  Hollywood  (though  not  aloofing 
,'cther,  I  regret  to  say),  unless  you  count  Texas  Guinan, 
ose  aloofness  on  her  last  visit  was  not  altogether  her  fault. 
,  !;ese  Hollywood  hi-hat  hicks! 

I  regret  to  say  that  I  have  been  stepping  out  from  my  monas- 
!  ic  seclusion  considerably  this  month,  but  I  console  myself  with 
llie  thought  that  some  of  our  greatest  saints  made  whoopee 
when  }'oung. 

My  record  this  month  looks  like  the  fliary  of  flaming  youth 
or  Fannie  Ward's. 
For  instance,  I  *  *  * 

Well,  naturally,  Jim,  I  can't  very  well  prove  it  if  you  are 
LMiiig   to  substitute  asterisks  for  the  hottest  stuff.     I  think 

it  a  great  mistake  to  make  Photoplay  a  family 
magazine.     Indeed,  I  shall  ignore  the  policy 
and  go  right  ahead.     After  all,  it  may  be  an 
e.\am[)lc  toother  boys. 
I  spent  the  first  week  of  the  month  at  Warner  Gland's  beach 

house  getting  in   condition.     The   Warner  Olands   are   firm 

Buddhists,  like  myself. 

That  is,  they  believe  in  sitting  and  meditating  on  the  sands, 

with  now  and  then  a  dash  indoors  for  a  helping  from  Prahedis, 

Mexican  culinary  genius. 

OUR  discourses  are  always  philosophical.  The  only  person- 
ality to  enter  in  was  Nils  Asther.  I  could  discount  some  of 
Warner's  enthusiasm  for  Nils  because  they  are  both  Swedes 
and  like  the  same  punch,  which  is  the  greatest  bond  of  brother- 
hood. But  Edith  Oland  is  an  impartial  critic  and  artist  in  her 
own  right,  and  she  says  Nils  is  the  most  charming,  cultivated 
and  talented  young  man  she  has  observed  during  her  years  in 

Likewise,  our  girl  friend,  the  authoritative  Pringle,  thinks  him 
interesting,  "though  an  actor."        [  coxtixued  ox  page  132  ] 

"I  sometimes  wonder  if  fans  would  envy 
us  magazine  writers  our  fabulous  sal- 
aries if  they  knew  how  hard  we  have  to 
work.  Some  days  I  lunch  with  three 
or  four  stars,  dine  with  as  many  more, 
and  see  previews  of  silent  and  talkie 


Illustrated  by 

Ken  Chamberlain 

!<  ■'    i 

/'">"■,  "«J>7 



K,  i^  f~itm^/4vtl. 

The  Stars'  Mad 

Horrible  expose  of  what  goes  on  in 
the  Gilded  Palaces  of  Hollywood 

The  Gleasons — Lucille,  James  and  Russel — used  to  be  respectable 

stage  folk.  Now  that  they  live  in  Hollywood  "Murder"  is  merely 

a  game — a  pastime  to  while  away  an  evening.   The  Academy 

of  Arts  and  Sciences  tried  to  have  this  picture  suppressed 

SODOM  and  Gomorrah  in  (heir 
wildest  days  were  so  many  Podunks 
to  Hollywood  on  an  off  night. 
Rome  just  before  it  faw  down, 
compared  to  the  film  colony,  was  a  tiddle- 
dy-wink  tournament  for  deaf  mutes. 

How  the  stars  do  go  on! 

The  rage  for  playing  wild  games  has 
hit  Hollywood  between  the  eyes,  and  all 
is  confusion. 

Movie  actors,  dizzy  with  draughts  of 
pineapple  juice,  stagger  from  bungalow 
to  bungalow  on  progressive  backgammon 
jags.  Game-leggers  are  peddling  jack- 
straws  to  the  girls.  It  is  reported  that 
Deacon  Will  Hays  has  banned  the  game 
of  "consequences,"  and  that  the  morality 
of  checkers  and  dominoes  is  under  dis- 
cussion by  the  Motion  Picture  Academy 
of  Arts  and  Sciences. 

Go  for  a  ride  to  the  beach  with  film 
players  and  what  do  they  do?  Add  up 
automobile  license  numbers,  with  the 
quickest  adder  winning.  At  the  moment 
of  going  to  press  Clive  Brook  is  champ, 
with  Neil  Hamilton  and  Louise  Fazenda 
in  the  money. 

Jimmy  Gleason  and  his  wife,  Lucille 
Webster,  introduced  the  game  of 
"murder"  to  Hollywood.  The  Gleasons, 
the  Robert  Armstrongs,  Vera  Reynolds, 
Daphne  Pollard  and  her  husband  are 
among  its  best  addicts. 

Scandalous  diversion 
at  the  beach  home  of 
Louise  Fazenda. 
Louise  and  her  guests 
play  a  wild  game 
called  "All  Fall 
Down."  You,  too, 
played  it  in  your  flam- 
ing kindergarten  days 
under  the  name  of 

Sinister     Oriental     doings    at     the    home 
of  Jacqueline  Logan.     Jackie  has  a  set  of 
Chi   Chi  sticks  and  —  don't   tell    the   re- 
formers— it's  a  fortune-telling  game 



Ruth  M.  Tildesley 

One  of  the  group  is  appointed  District  Attor- 
ney. The  rest  are  witnesses  until  they  fail  to 
testify  correctly,  whereupon  they  join  the 

SUPPOSE  the  company  decides  to  murder  Will 
Hays.  The  District  Attorney  announces  that 
Will  Hays'  body  has  been  found  in  the  Chinese 
Theater  at  ten  o'clock  in  the  morning.  James 
Gleason,  as  district  attorney,  turns  to  the  first 
witness:  "Mrs.  Armstrong,  at  ten  o'clock  this 
morning,  you  were  observed  leaving  the  Chinese 
Theater.  Will  you  kindly  explain  your  business  there  and  what 
you  saw?" 

Whatever  Mrs.  Armstrong  says  is  thereupon  the  truth  and 
must  not  be  varied  from  by  any  other  witness.  If  she  declares 
that  she  saw  Vera  Reynolds  running  out  of  the  stage  door  with 
a  gun  at  five  minutes  to  ten,  and  that  Mrs.  Gleason  delayed  the 
witness  in  the  lobby  to  ask  if  her  hat  was  on  straight,  exactly 
that  testimony  must  be  repeated  arjd  adhered  to  by  everyone. 
You  can't  omit  that  you  came  to  town  to  buy  a  paper,  if  some- 
one has  stated  that  as  your  purpose  in  coming.  The  idea  is  to 
evolve  a  definite  plot  to  murder  Mr.  Hays  and  to  link  another 

Colleen  Moore  runs  wild  at  the  studio  and  plays  "Spin  the  Platter."  The 
abandoned  youths  whom  she  has  led  astray  are  Mervyn  Le  Roy,  her 
director;  Cleve  Moore,  her  brother,  and  Jack  Stone,  her  cousin.  Whoopee! 

Vera  Reynolds  and  Mr.  and  Mrs.  Robert  Armstrong  act 

outawordof  three'syllables.   It's  "Paradise"(Pair-o'-Dice). 

Charades  is  one  of  the  games  that  gives  Hollywood  the 

reputation  of  being  another  Monte  Carlo 

witness  with  the  slaying,  while  clearing  your  own  skirts  of  the 

Vera,  for  example,  having  heard  Mrs.  Armstrong  picture  her 
as  running  out  of  the  stage  door  with  the  gun,  testifies  that  she 
did  so  run,  but  that  two  minutes  before  she  was  seen  by  Mrs. 
Armstrong,  JMr.  Armstrong  had  dashed  up  to  her  in  the  green- 
room of  the  theater  and  thrust  the  smoking  gun  into  her  hand, 
crying:  "For  heaven's  sake.  Vera,  take  this  and  get  out  of 
here!"  after  which  it  is  up  to  Robert  Armstrong  to  remember 
the  exact  quotation  and  sequence  of  events  and  to  explain  what 
he  was  doing  with  the  weapon. 

One  of  the  chief  crazes  of  the 
season  is  ping-pong.  Gloria 
Swanson  has  an  elaborate  ping- 
pong  set.  Irene  Rich  has  turned 
her  poolroom  into  a  ping-pong 
room  and  almost  every  beach  cot- 
tage contains  special  boards  to  be 
placed  on  the  necessarily  small 
dining  tables  so  that  guests  may 
enjoy  the  game. 

THE  other  day  I  walked  in 
on  Richard  Dix  and  Gregory 
LaCava  walloping  the  little  ball 
across  the  net,  excitement  having 
been  added  to  an  already  lively 
contest  by  a  wager  of  a  hundred 
dollars  a  game.  Most  of  the  sport- 
ing set  bet  on  this  pastime  but 
usually  the  stakes  are  lower. 

Volley  ballon  the  sand  intrigues 
the  happily  married,  for  some 
reason.  Wives  range  themselves 
on  one  side  of  the  net,  husbands 
on  the  other,  and  you'd  be  sur- 
prised how  often  the  wives  win! 
There's  a  catch  to  that,  though. 
The  sand  is  a  handicap  to  heavier 
players  and  all  the  wives  are  slim. 
The  Clive  Brooks,  the  Elmer 
Cliftons,  the  Xeil  Hamiltons.  the 

[  CONTINUED  ON  PAGE  127  ] 


t  Gets  A 

In  which  Mr.  Stan 
Guffey's  theme  song 
to  his  Dream  Girl 
runs  into  a  mess  of 
static.  And  the 
moral  of  the  story  is: 
It's  better  to  worship 
'em  from  a  distance 

A  SLIM  ribbon  of  orange-colored  light  pene- 
trated  the  lavender  dimness  of  the  Bijou 
Theater  and  caught  the  tuxedoed  figure  of 
Mr.  Stanley  Guffey  as  it  emerged  from  the 
wings.    Mr.  Guffey's  subsequent  progress  to  his  throne 
before  the  massive  horseshoe  organ  was  a  triumph  of 
elegant  ease. 

Smoothing  his  well  shellacked  curls  and  smiling 
with  the  tolerant  ennui  of  a  popular  idol,  he  finally 
reached  the  center  of  the  orchestra  pit,  whereupon  he  negoti- 
ated a  hip  rolling  bow,  oscillating  from  north-east  to  north- 
west with  admirable  precision. 

Then,  before  the  crackle  of  applause  died  away,  he  sank 
abruptly  into  his  cushioned  seat  and  attacked  the  organ  with 
the  affectionate  ferocity  of  the  true  artist.  Newsreel  and 
comedy  flowed  along  to  a  deftly  arranged  medley,  but  Mr. 
Guffey,  who  was  a  pint-size  gentleman  liberally  bespattered 
with  freckles,  cocked  a  disdainful  eye  at  the  screen  until  the 
gymnastic  humor  faded  out.  A  moment  later  his  veneer  of 
boredom  disappeared  as  the  preliminary  announcement  of  the 
feature  advised  a  gaping  public  that  Dora  Delura  in  "Loose 
But  Lucid,"  would  provide  the  thrill  of  the  evening. 

For  the  ne.xt  hour  and  twenty  minutes  Mr.  Guffey  labored, 
and  brought  forth  a  masterpiece  of  accompaniment.  Though 
Miss  Delura's  pictures  bore  various  titles,  she  had  but  one 
story — a  curious  tangle  of  vice  and  virginity,  crowned  by  a 
chiffon-blurred  closeup  beneath  a  cloud  of  apple  blossoms — 
therefore  the  little  musician  found  no  difficulty  in  keeping  step 
with  her  progress. 

DOR.\  DELUR.\!  Two  years  of  worship  had  resulted  in 
Mr.  Guffey  knowing  her  better  than  his  own  relatives.  The 
slightest  quiver  of  mouth  or  eye  seemed  meant  for  him  alone, 
and  sometimes,  with  the  house  two-thirds  empty  at  a  matinee, 
a  close  observer  could  have  heard  him  relieving  his  overstuffed 
heart  with  endearing  phrases. 

"I  was  reading  about  you  today,  honey,"  he  muttered,  "and 
1  know  you  got  no  time  for  them  celluloid  cavaliers.    '  The  Nun 


of  Hollywood,'  the  story  called  you,  'aloof  and  serene,  like 
moonlight  on  the  ocean.'  Imagine  them  writers  being  lucky 
enough  to  meet  you!  'An  orchid  swaying  on  its  stalk,'  says 
another  one,  and  he's  right,  but  maybe  you're  lonesome  like  me, 
Dora.  Two  thousand  miles  between  us,"  said  Mr.  Guffey 
plaintively.    ''It  certainly  gets  a  guy  sore." 

THEN  he  perked  up,  grinned  jauntily  and  ushered  out  the 
final  clinch  with  a  wistful  melody.  He'd  almost  forgotten! 
That  very  morning  he  had  been  presented  with  a  five  thousand 
dollar  check,  bequeathed  by  a  vaguely  remembered  uncle,  along 
with  sundry  admonitions  as  to  his  conduct.  To  do  him  credit, 
Mr.  Guffey's  first  thought  had  been  to  buy  a  small  interest  in 
the  Bijou,  but  now  he  realized  that  distance  need  bother  him 
no  longer. 

"It's  two  months  since  Dora  was  here,"  he  told  himself, 
watching  the  audience  struggling  in  the  aisles  during  the  brief 
intermission,  "and  after  this  week  I'll  have  to  wait  just  as  long 
before  I  see  her  again.  Wh}'  shouldn't  I  breeze  out  to  take  a  peek 
ather?  Andbythesuffering  Moses,"  saidMr.  Guffey,  plunging 
into  the  Grand  March  from  ".'\ida,"  "I  will;  Viola  or  no  Viola." 

After  the  last  show  he  ambled  briskly  through  the  lobby, 
endeavoring  to  skirt  the  ticket  seller's  booth  in  the  center,  when 
a  small  brunette  of  streamline  tendencies  slipped  through  the 
door  and  hailed  him.  "Slow  up,"  said  the  damsel,  "and  you 
can  take  me  home." 

Mr.  Guffey  quailed.  Just  because  he'd  taken  Viola  out  a  few 
times  and  whispered  a  few  carefully  memorized  subtitles,  she 
had  begun  to  think  herself  capable  of  putting  up  the  "No 



By  Stewart  Robertson 

The  door  was  jerked 
open  and  the  irritable 
Mr.  Garvin  inserted  his 
head.  ''Hey!''  he 
shouted,  "I'm  sending 
in  a  sobbie  from  the 
Kalamazoo  'Gazette.' 
Give  her  the  I-Hate- 
Men  stuff."  "Shoot 
her  in,"  ordered  Dora, 
"but  I  won't  spare 
much  of  my  time,  be- 
cause I'm  too  inter- 
ested in  Stan,  here" 


Trespassing"  sign.  However,  when  a  man  has  acquired  five 
thousand  dollars,  it  behooves  him  to  cultivate  a  little  will  power 
and  become  the  master  of  his  fate,  so  Mr.  Guffeygritted  his  teeth. 

"Oh,  hello,"  he  said  airily,  "I  wanted  to  say  goodbye  to  you, 
anyway,  before  I  grab  the  train  to  California." 

"Don't  kid  me,"  begged  the  lady,  beginning  to  giggle. 

"Gravity  Falls,"  stated  Mr.  Guffey,  with  a  comprehensive 
gesture  toward  the  Public  Square,  "is  beginning  to  stifle  me. 
Thirty-five  thousand,  and  everyone  knowing  the  other's 
laundry  mark.  No  class  at  all,  and  besides,  there's  good  reason 
for  my  holiday."  He  proceeded  to  tell  her  about  his  sudden 
wealth,  looking  everywhere  but  directly  at  her. 

Viola  regarded  him  with  the  proprietary  eye  of  a  first  mort- 
gagee. "That's  a  swell  way  to  mourn,  going  to  Hollywood," 
she  told  him,  sniffing  contemptuously.  "You  and  your  five 
thousand!  If  you  had  any  imagination,  you'd  think  of  a  few 
things  you  could  do  with  it  here." 

"I  hadn't  seen  this  uncle  since  I  was  about  si.\,"  said  Mr. 
Guffey  defensively,  "and  the  chances  are  he'd  approve  of  me 
trying  to  learn  something  more  about  the  business  I'm  in." 

BUSINESS!  You  know  doggone  well  \-ou're  going  out  there 
to  gape  at  that  Delura  thing.  How  do  you  figure  to  meet 
her — get  hit  by  her  Rolls-Royce?"  \'iola  giggled  e.xasperat- 
ingly.  "No  joking,  Stan,  do  you  really  think  she'll  look  at  a 
mere  key  tickler  like  you?'' 

"Why  not?"  countered  the  long  distance  lover.  "We're  both 
in  the  same  game.  Besides,  she  leads  a  pretty  lonesome  life, 
from  all  accounts." 

"Boloney,"  said  Viola. 
"  Now  listen,"  bawled  Mr. 
Guffey,  putting  on  a  few  pounds 
pressure,  "lay  off  them  small  time 
Dora's  a  lady,  and  it  wouldn't  do  you  no  harm  to 
copy  some  of  her  mannerisms.  Furthermore,  her  voice  is  soft 
and  velvety  to  go  with  them,  so  I've  read." 

".Anything  she  does  is  poison  to  me!"  screeched  his  jealous 
companion.  ".\11  right,  Don  Juan,  gallop  out  to  your  siren  of 
the  shadows.    I'll  bet  she  purrs  like  the  rest  of  the  cats." 

They  walked  along  until  the  girl's  house  loomed  ahead,  and 
then,  drawing  him  under  a  sycamore,  she  raised  her  face  to  his. 
"Stan,"  she  said  coaxingly,  "tell  me  something  nice." 

CERT.\INLY,"  said  Mr.  Guffey  cruelly.  "You  got  very 
pretty  hair,  Viola — and  if  a  beauty  doctor  worked  on  you 
for  twenty  years  you  might  be  a  tenth  as  beautiful  as  Dora." 

The  little  ticket  seller's  mouth  worked  strangely,  then 
leveled  into  a  thin  line. 

"Goodbye,"  she  snapped,  "and  don't  wear  that  cerise  and 
green  tie  when  you  meet  my  rival.  It  might  make  her  eyes 
goggle  even  worse." 

"Don't  take  it  too  hard,"  admonished  the  cocky  organist. 
"You  know  she  isn't  a  real  rival.  I  couldn't  marry  a  queen  like 
Dora,  but  I  just  want  to  look  at  her,  that's  all.  Then  I'll  come 
back,  and  maybe  get  engaged  to  you." 

Viola  reached  her  front  gate  and  edged  inside  the  protection 
of  its  whitewashed  pickets.  "Yeah?  "  she  drawled,  "aren't  \ou 
noble?  Well,  take  care  you  haven't  got  a  rival  yourself, 
dearie,"  and  leaning  over,  she  slapped  the  callow  face  of  iSIr. 
Guffey  until  his  freckles  were  swamped  in  a  hectic  flush. 

The  assaulted  gentleman  watched  her  run  into  the  house, 
then  he  shambled  down  the  street  rubbing  his  stinging  cheek. 
"I  wonder  what  she  meant  by  that  last  crack,"  he  muttered. 
"She's  just  like  all  the  dames — trying  to  be  cagey  and 
mysterious  so  as  to  get  a  guy  sore."  [  co.xtinued  on  page  113] 




Photoplay  picks  its  own 
big  Hollywood  celluloid 
prospects — and  gives  mere 
men  a  break.  Here  are 
the  bright  girls  and  boys 
likely  to  achieve  film  suc- 
cess in  1929 



Anita  Page 
Already   a    hit    but   over- 
shadowed by  Metro 'sdanc- 
ing  daughter,  Joan  Craw- 

Jeanette  Loff 

In  *'AnnapoIis"  and  other 

films.   An  American  Vilma 


Barry  Norton 

Riding  to  success  since  his 

Mother's    Boy    in    "What 

Price  Glory" 

Eddie  Quillan 

The  comedy  relief  of  Cecil 

De    Mille's    "The    Godless 


Nancy  Drexel 

The    other     pretty     little 

aerialist  in  Murnau's 

"Four  Devils'* 

Raquel  Torres 

Phillips  Holmes 

Hugh    Allen 

Yola  d'Avril 

The    tropical    charmer   of 

"White    Shadows    of    the 

South  Seas" 

Taylor  Holmes'  Princeton 

son  makes  good  in 


Here's  a  real  bet.    He's  the 

lad  who  ran  away  with 


The  IT  girl  in  the  inn  of 

"The  Awakening."      Just 

needs  a  chance 

Loretta  Young 

She's    the   gal    who    broke 

Lon's    heart    in    "Laugh, 

Clown,  Laugh" 

68  2 

David  Rollins 

Several    hits,    including   a 
real  one  in   "The   Air 


Jack  Stone 

Cousin   of   Colleen    Moore 

and  the  scared  aviator  of 

"Lilac  Time" 

Sharon  Lynn 

The  girl   who  led  Conrad 

Nagel  astray  in  "Red 







Dr.  H.  B.K.Willis 


Dr.  H.  B.  K.  Willis  is  one  of  the  foremost  physicians  of  Los 
Angeles  and  among  his  patients  are  the  leading  film  stars. 
Dr.  Willis  has  made  a  complete  study  of  diet — the  chief  prob- 
lem of  the  stars 

The  famous  physician   will   contribute  regularly  to 
Photoplay  and  he  will  answer  your  personal  letters 

DUE  to  the  ever-increasing  appeal  of  diet  as  a  means  of 
gaining  individual  well-being  the  grand  old  American 
public,  from  llapper  to  philosopher,  is  eating  its  way 
into  as  well  as  out  of  health.  Food  has  attained  a  new 
footing.  Time  was  when  feasting  instead  of  fasting  was 

Calorie  consciousness  is  fast  supplanting  gluttony,  but  it 
was  not  so  long  ago  that  we  were  dubbed  a  nation  of  gluttons 
by  physicians  who  charged  us  with  digging  our  graves  with  our 

But,  unfortunately,  the  pendulum  seems  to  be  swinging  too 
far  in  the  other  direction,  because  the  enthusiasm,  which  is  an 
American  characteristic,  is  leading  countless  thousands  into 
dietetic  errors  inspired  by  the  mandates  of  well-meaning  but 
misguided  food  faddists. 

For  example,  where,  a  few  years  ago,  Americans  were  as  over- 
starched  as  Father's  dress-shirt,  the  average  individual,  accord- 
ing to  statistics,  is  not  eating  enough  sugar  today. 

We  were  once  a  nation  of  mighty  meat-eaters.  Today  meat 
is  anathema  to  too  many  who 

need  it.    As  for  fat,  the  popular  

opinion  seems  to  be  that  all  this 
dietetic  necessity  is  good  for  is 
the  manufacture  of  soap. 

But  nationally  we  are  strong 
for  vitamins.  One  may  not 
know  what  they  are  but  they 
have  been  publicized  as  mir- 
acle-workers and  the  word  is 
mouth-filling,  even  though  the 
vitamins  themselves  may  not 

Ninety-nine  per  cent  of  the 
patients  who  come  into  my 
office  are  there  in  search  of  a 
diet  which  will  banish  pills  and 
doctor's  bills. 

HAVE  you  a  problem  of  diet? 
Let  Dr.  Willis  of  Photoplay 
be  your  adviser.  Write  to  him 
in  care  of  Photoplay,  816  Taft 
Building,  Hollywood,  Calif.,  and 
be  sure  to  enclose  a  stamp  for 
reply.  Dr.  Willis  will  give  your 
question   his   personal   attention 

Grandpa  wants  one  to  cure  his  rheumatism.  Grandma  and 
Mother  are  equally  desirous  for  one  which  will  convert  their 
stylish  stouts  into  svelte  sixteen  sizes.  Dad  demands  a  diet 
which  will  chase  the  spots  from  before  his  eyes  and  make  high 
blood  pressure  become  a  forgotten  fear.  Sister  wants  to  eat 
to  stay  thin  or  gain  her  a  skin  someone  loves  to  touch.  Brother 
wants  a  menu  which  will  make  halitosis  impossible  or  give  him 
a  complexion  as  free  from  comedones  as  the  face  of  the  collar 
ad  model. 

IT  is  an  absolute  fact  that  too  many  laymen  utterly  and  com- 
pletely believe  that  diet  is  the  key  to  health  and  happiness  and 
that  therein  lies  the  panacea  for  all  the  ills  to  which  the  f5esh 
is  heir.  Unfortunately  they  are  not  entirely  right,  although  it  is 
fortunate  that  today  the  majority  eat  to  live  and  not  live  to  eat. 
Having  the  interest  of  its  vast  army  of  readers  at  heart  and 
believing  that  they  will  welcome  personally  conducted  dietetic 
excursions.  Photoplay  adds  another  innovation  to  its  table  of 
contents   by   giving  me   the  opportunity  of  expounding  my 

beliefs  as  to  safe  and  sane  eat- 
ing, the  value  of  a  proper  diet 
in  health  and  disease. 

The  subject  will  be  handled 
along  broad,  general  lines  in 
the  articles  to  be  printed,  and 
individual  cases  will  be  con- 
sidered by  the  question  box 
method  and  private  communi- 
cations to  such  persons  as  may 
desire  them. 

In  many,  many  cases  diet  is 
but  an  adjunct  to  the  adequate 
treatment  of  disease,  and, 
hence,  diet  will  not  be  upheld 
by  the  writer  as  a  substitute 
for  properly  indicated  medical 

[  CONTINUED  ON  PAGE  90  ] 


Tour  Clothes  Ci 

Six  years  ago  Adrian  designed  this  bouffant  costume  for  Lea  trice 
Joy.   "No  woman  would  wear  a  gown  like  that,"  cried  the  pro- 
ducers.   Today  half  the  evening  gowns  are  a  modified  version 
of  this  picturesque  robe-de-style 

THE  Rue  de  la  Paix  or  Hollywood 
Boulevard — which? 
Do  such  famous  authorities  as 
Patou,     Lelong,     Molyneux     and 
Worth  tell  you  what  to  wear  or  have  you 
felt  the  influence  of  the  more  unfamiliar 
names  of  Adrian,  Greer,  Ree  and  Banton? 

It  is  my  duty,  my  good  woman,  to  tell 
you  that  you  are  copying  fashions  worn 
by  the  screen  stars  and  not  those  chosen 
by  French  gals  who  seem  to  have  nothing 
to  do  but  pose  for  their  pictures  at  the 
race  tracks  at  Deauville. 

Hollywood  is  the  broadcasting  agency 
for  fashion! 

Hollywood  creates  the  modes  of  the 
world ! 

You  are  wearing  photographic  clothes! 

Many  of  the  designers  go  to  Paris 
3'early  for  ideas,  but  it  is  only  the  general 
feeling  of  line  and  the  new  materials  that 
they  bring  back.  These  are  sifted  through 
the  studio  mill  and  are  sent  to  you  at  once 
to  copy. 

And  did  you  know  that  many  of  these 
fads  are  introduced  to  hide  defects  in  the 
stars' figures? 

Historians  tell  us  that  the  side  saddle 


Because  Greta  Garbo  has  a  long 
neck.  Max  Ree  put  a  ruff  on  her 
collar  in  "The  Torrent."  The  wide 
Garbo  collar  was  evolved  from  this, 
and  it  is  a  world-wide  fashion 


How  the  cre- 

screen  influ- 

rectly  than 

Lois  Shirley 

came  into  vogue  because  Queen  Elizabeth 
could  not  ride  astride. 

The  Garbo  collar  was  created  because  a 
gauche,  awkward  Swedish  girl  had  a  long 
neck  and  an  unhappy  manner  of  carrying 
her  head. 

THE  wide  strip  of  material  that  extends 
directly  down  the  spine  of  every  Mae 
Murray  decollette  gown  is  to  conceal  a 
scar  on  the  erstwhile  star's  back. 

Tight  fitting,  hair  line  skuU  caps  are 
worn  to  cover  the  fact  that  many  stars 
have  heads  too  big  for  their  bodies. 

As  the  pearl,  with  its  moonlike  beauty, 
is  caused  by  an  irritation,  so  many  of  the 
loveliest  lines  ever  worn  by  women  are  an 
effort  on  the  part  of  the  designers  to  con- 
ceal that  which  is  not  beautiful. 

You  will  never  see  Florence  Vidor  who 
is,  by  popular  vote  among  the  fashion 
dictators,  the  best  gowned  woman  on  the 
screen,  wearing  a  brimless  hat.  Her  face 
is  long  and  thin  and  her  jaw  broad. 

It  is  the  job  of  the  designer  to  know  his 

star  as  he  knows  his  scissors  and  to  make 

her  the  loveliest,  most  ravishing,  most 

beautiful    woman    possible.       For    the 

flicker  favorites  are  even  as 

you    and    I,    my    dear,    and 

there  are  bow  legs  and  broad 

hips  in  Hollywood  although 

the  rest  of  the  world  never 

guesses  it.    Clever  costuming 

conceals  them. 

A  RADICAL  change  has 
come  to  the  screen  in 
the  last  few  years.  It  is  due  to 
the  efforts  of  such  designers 
as  Max  Ree,  Howard  Greer, 
Travis  Banton,  Sophie  Wach- 
ner  and  Gilbert  Clark.  These 
people  have  banded  together 
to  set  aside  the  old  school  of 
motion  picture  dressing;  to 
make  women  as  smartly 
gowned  on  the  screen  as  they 
would  be  in  a  civilized  drawing 
room ;  to  eliminate  the  symbol 
of  the  vamp,  a  figure-fitting 
black  velvet  gown  with  high 
collar,  long  sleeves  and  a  slit 
to  the  thigh.  They  have  also 
removed  the  taboos  of  the 

It  used  to  be  that  everv- 

^from  Hollywood 

ations  you  see  on  the 
ence  you  more  di- 
Paris  fashions 

body  from  the  office  boy  to  the  president  had  to  O.  K.  a  dress. 
Camera  men  complained  of  color.  White  was  not  admitted  on 
the  set  until  Travis  Banton  gowned  Pola  Negri  in  white,  a 
color  that  she  loves  more  than  all  others,  and  because  Pola 
was  a  star  with  authority  the  camera  man  had  to  figure  out  a 
way  of  photographing  it. 

THE  producer  still  attempts  to  put  his  finger  in  the  dress- 
maker's pie,  insisting  that  the  star  should  be  gowned  in 
"something  like  my  wife  wears,  this  clingy  material  with 
shiny  stuff  here."  But  he  invariably  discovers  the  error  of  his 

There  is  but  one  thing  to  consider  when  you're  copying 
screen  clothes.     Separate  in  your  mind  the  gowns  that  are 
made  for  a  character  and  those  that  are  built  for  style  only. 
I  cite  Ma,x  Ree  and  the  Freudian  svmbols  that  he  has 

Adrian  may  not  be  as 
well-known  to  you  as 
the  Paris  authorities. 
But  the  clothes  he  de- 
signs for  the  stars  are 
the  ones  you  envy — and 

Greer's  shop  in  Holly- 
wood is  a  style  center. 
Here  the  stars  order  the 
personal  wardrobes  that 
make  them  the  best- 
dressed  women  in  the 

evolved  as  an  e.xample.  In  "The  Wedding  March" 
ZaSu  Pitts  plays  the  role  of  a  woman  with  a  suppressed 
desire.  Against  her  own  subconscious,  her  body  is 
ruled  by  her  brain.  Therefore  Ree  put  her  in  form- 
fitting  gowns  with  the  lines  running  to  her  head,  and 
set  her  face,  flowerlike,  in  a  collar.  In  the  same  pro- 
duction Maud  George  plays  the  role  of  a  smart,  but 
untidy  woman.  Ree  chose  a  negligee  trimmed  with 
unruly  feathers,  rather  than  sleek  fur,  in  order  to 
establish  a  character  properly. 

This  is  the  film  designer's  only  limitation. 

IT  was  Ree,  by  the  way,  who  originated  the  Garbo 
collar.  He  gowned  the  star  in  her  first  .American  pic- 
ture, "The  Torrent,"  and  the  fur  coat  she  wore  in  that 
with  the  enormous  collar  was  made  to  conceal  her 
long  neck  and  to  help  her  carry  her  head  better.  It 
served  the  same  purpose  as  the  head  rest  used  by  old- 
fashioned  photographers.  It  was  copied  throlighout 
the  world  and  even  introduced  in  a  Paris  opening 
after  it  had  been  worn  by  Garbo! 

In  the  matter  of  color  the  designer  is  hindered  only 
by  the  star  herself.  Dorothy  Cummings  had  a  fainting 
spell  at  the  sight  of  agreenfrockmadcforherto  wcarin 
a  ]iicture.  Esther  Ralston  says,  "I  know  that  a  light 
will  fall  on  me  or  the  film  will  catch  fire  if  I  apjiear  in  a 
yellow  dress."    Yet  yellow  is  most  becoming  to  her. 

Sophie  Wachner  tells  this  one  on  Mary  Astor.  She 
had  an  aversion  to  blue  and  would  not  have  a  frock  of 
that  shade  until  one  day 
she  surprised  Miss  Wachner 
by  requesting  a  blue  dress. 
It  was  because  Kenneth 
Hawks,  her  fiance  at  the 
time,  now  her  husband, 
liked  it. 

The  pioneer  in  establish- 
ing Hollywood  as  a  style 
center  is  Peggy  Hamil- 
ton. Still  in  her  teens,  she 
undertook  the  costume  de- 
partment at  the  old  Triangle 
Studio  and  dressed  Gloria 

[  CONTINUED  ON  P.\GE  130  J 


Peggy  Hamilton, 
pioneer  studio  de- 
signer, dressed  Gloria 
Swanson  for  her  first 
big  role.  The  cos- 
tumes were  made 
over  from  Miss  Ham- 
ilton's own  frocks. 
Miss  Hamilton  be- 
lieves in  ''show 
styles,"  as  you  can 
see  by  this  lace  negli- 
gee, trimmed  with 
mirrors    and    ostrich 

speech  is 

Some  stars  who  passed 
the  voice  test  and 
made  big  come-backs 
when  the  silent  drama 
broke  into  noise 

Lois  Wilson,  for  instance.  Lois  failed 
to  get  a  break  after  ending  her  contract 
with  Paramount.  The  smart  girl  studied 
voice  training  and  went  on  the  stage  in 
Los  Angeles,  thereby  talking  herself  into 
the  talkies 

Antonio  Moreno  had  been  doing  a  quiet  fade- 
out  until  First  National  discovered  that  he 
has  been  suppressing  a  splendid  speaking 
voice  all  these  years.  You'll  see  him  again 
in  "Synthetic  Sin,"  Colleen  Moore's  first 
chatter  film 

A  star  who  was  gone  but  never  forgotten. 
Pauline  Frederick  left  Hollywood,  more  in 
sorrow  than  in  anger,  and  toured  the 
world.  Thanks  to  the  talkies,  this  beauti- 
ful woman  is  back  on  the  screen.  She  made 
a  triumphant  return  in  "On  Trial,"  and 
Warner  Brothers  will  present  her  in  a 
whole  series  of  Vitaphone  dramas 



And  Mildred  Har- 
ris. Mildred  was 
off  again,  on 
again.  Sometimes 
in  vaudeville; 
sometimes  in  a 
quicliie.  But  Mil- 
dred can  sing  and 
she  can  speak 
lines.  So  she 
made  her  come- 
back in  "Melody 
of  Love" 

Remember  Bessie  Bar- 
riscale?  Bessie  was  once 
a  big  star,  but  she  left 
the  screen  for  the  stage. 
And  it  was  "Goodbye 
Forever."  But,  in  the 
search  for  movie  person- 
alities with  voices,  Bessie 
was  called  back  to  Holly- 
wood and  given  a  part  in 
Pathe's  "Show  Folks" 

Robert  Elliott  left  pic- 
tures years  ago  to  return 
to  the  stage,  because  he 
wasn't  pretty  enough 
for  a  dumb  hero.  Now 
he's  tearing  out  swell 
performances  for  Fox- 

Rescued  from  vaudeville — Bessie 
Love.  Bessie  can  dance,  sing, 
talk  and  play  the  uke.  Those 
who  have  seen  her  in  "Broad- 
way Nrelody"  say  that  she  is  the 
Marilyn  Miller  of  the  talkies. 
Very  nice  for  Bessie— and  very 
nice  for  audiences 


Amateur  Movies 

By  Frederick  James  Smith 

MOVIE  amateurs  still 
have  two  and  a  half 
months  to  complete 
their  contest  films. 

Photoplay's  $2,000  contest 
closes  definitely  at  midnight  on 
March  31st.  There  will  be  no 
extension  of  the  time  limit. 

From  amateurs  in  all  parts 
of  America  come  reports  of 
contest  plans.  The  Flower 
City  Amateur  jMovie  Club  of 
Rochester,  N.  Y.,  is  at  work  on 
a  400  foot  16  mm.  film,  bearing 
the  working  title  of  "Dead  or 
.Alive,"  for  the  Photoplay 
contest.  The  story  deals  with 
an  underworld  gang  and,  for 
the  numerous  interiors,  the 
Flower  City  Club  is  attempting 
some  new  departuresinlighting. 

Work  is  progressing  rapidly 
on  the  contest  contribution  of 
the  Foto-Cine  Productions  of 
Stockton,  Calif.  This  is  called 
■'Three  Episodes."  Sundays 
are  devoted  entirely  to  produc- 
tion work  by  the  entire  club. 

Many  other  contest  films  are 
under  way.  Photoplay's  sec- 
ond contest  already  bears  the 
imprint  of  widespread  inter- 
national interest. 

Russell  Ervin,  Jr.,  winner  of  last  year's  PHOTOPLAY 

contest,  is  now  a  Fo.x- Movietone  veteran.     Here 

he  is  with  Director  Marcel  Silver 

FEBRU.\RY  is  a  month  of  outdoor  action — a  month  of 
tobogganing,  skiing,  skating,  snow-shoeing,  snowballing, 
ice-boating  and  similar  sports,  writes  W.  A.  Shoemanker,  editor 
of  the  Eastman  Cine-Kodak  News  in  personally  advising 
Photoplay  readers.  It 
offers  untold  possibilities 
to  the  movie  maker — pos- 
sibilities that  should  not 
be  overlooked,  for  these 
sports  are  at  their  height 
in  February. 

You  will  take  advantage 
of  February's  outdoor 
action,  of  course.  But  be 
careful!  February  light  is 
fickle  and  unless  you  are 
careful  under-exposure 
may  ruin  your  pictures. 
The  light  may  seem  to  be 
brighter  in  February  than 
it  was  in  December  and 
January,  but — photo- 
graphically at  least  —  it 
isn't.  The  wise  movie 
maker  will  strive  to  avoid 
under-exposure.  Perhaps 
the  best  way  to  avoid  this 
bug-bear  of  winter  pictures 
is  to  follow  these  lighting 

For  sea,  sky  and  snow 
scenes,  distant  mountains 
and  landscapes,  or  for  wide 
expanses  of  snow,  f.ll  in 
bright  sun,  f.8  if  clouds 
partially  obscure  the  sun, 
and  f.5.6  or  f.6.5  if  the  dav 

is  cloudy  or  dull.  For  open 
landscapes  where  there  is 
no  heavy  shade,  f.8  in  bright 
sun,  f.5.6  or  f.6.5  if  light  clouds 
obscure  the  sun,  and  f  .4  on  dull 
or  cloudy  days.  For  street 
scenes  or  groups  where  part  of 
the  light  is  obscured  by  houses 
or  trees,  f.5.6  or  f.6.5  in  bright 
sun,  f.4  with  light  clouds  over 
the  sun,  and  f  .3.5  on  dull  days. 
For  scenes  on  shady  sides  of 
streets,  f.4  in  bright  sun,  and 
f.3.S  if  light  clouds  partially 
obscure  the  sun.  On  dark,  dull 
days,  such  scenes  should  not 
be  attempted  with  the  f.6.Sor 
f.3.5  lens.  These  scenes  are 
easily  within  the  scope  of  the 
f.1.9  lens,  however. 

THE  Motion  Picture  Club  of 
New  Haven,  Conn.,  closes 
an  interesting  club  competition 
for  16  mm.  films  on  January 
31st.     Attractive  awards  are 
being  made  for  the  best  scenics, 
pictures  of  children,  trick  films, 
current    event    shots,     travel 
views,  short  narrative  produc- 
tions, features  and  color  films. 
Fifty  amateurs  in  Erie,  Pa., 
have  organized  a  movie  club. 
"The  Fast  Male,"  the  ama- 
teur production  of  the  Stanford  Studios,  the  movie  club  of 
Stanford  University,  had  its  premiere  in  the  Stanford  assembly 
haU  at  Palo  Alto,  Calif.,  on  January  9th. 

The  Herald  Cinema  Critics  Club  of  Syracuse,  N.  Y.,  is  making 
an  amateur  film,  "Touchdown," 
written  by  Douglas  Thompson  and  the 
winning  scenario  in  a  contest  open  to 
Syracuse  high  school  students.  The 
club  has  the  benefit  of  advice  from 
Chester  B.  Behn,  dramatic  editor  of 
The  Syracuse  Herald. 

The  drama  class  of  the  Newport 
News  High  School  of  Newport  News, 
Va.,  is  starting  its 
third  amateur  photo- 
play. Its  first  film, 
"Heroes  All,"  landed 
prominently  in 
Photoplay's  first 
contest.  Amateur 

movies  are  now  a  defi- 
nite part  of  the  work 
of  the  drama  class. 

THE  incandescent 
lights  pictured  in 
the  special  Christmas 
tree  shots  of  home 
movie  making  in  the 
January  Photoplay 
attracted  so  many  in- 
quiries that  we  are 
going  to  tell  you  ex- 
actly how  to  make 
these  lights  yourself. 
[  continued 
on  page  100  ] 

Mrs.  Coolidge,  an  amateur  movie  enthusiast,  used  a  Cine- 
Kodak  to  film  the  President  on  their  Virginia  vacation 


Photoplay  Magazine — Advertising  Section 


"I  picked  it  lip  at  Malta"  Mrs, 
helm  says  oj  the  embroidery  iti 
her  frock,  a  symphony  of  all  the 
gorgeous  hues  that  suit  her  beauty. 
It  was  made  up  after  her  oivfi 
design,  like  the  highn' ay  man's 
coat  worn  with  the  Reboux  tri- 
come  of  the  larger  portrait. 

"It'umen  are  loveliest  in  evening 
dress,"  says  Mrs.  Iselin.  This 
Lanvin  creation  of  antique  green 
brocade  and  silver  lace  reveals 
the  ivory  beauty  of  her  neck  and 
arms.  A  magenta  girdle  and 
green  slippers  uith  magenta 
heels  complete  her  ensemble. 

Mrs.  Adrian  Iselin  11  is  the  wije  oJ  the  internationally  distinguished 
yachtsman^  Beauty,  charm,  chic,  a  merry  wit  and  many  brilliant 
talents  make  her  one  of  the  s?nartesi  and  best-liked  women  in  Netv  York. 

A-  LOVCLY  skin  is  essential  to   C/?/o    s^ys 
Mcx.   Adrian    Ixelin    ii 

MRS.  ISELIN'S  BEAUTY  recalls 
the  gorgeous  Renaissance.  She  has 
burnished  copper  hair  and  wonderful 
green  eyes  like  precious  jewels.  Her  per- 
fect skin  is  white  and  smooth  as  ivory. 

Tall,  slender,  graceful  in  every  gesture, 
Mrs.  Iselin  is  famous  for  her  chic. 

Color  is  her  hobby.  Color  can  make  or 
mar  a  woman's  beauty.  For  her  own 
auburn  type  she  chooses  tawny  browns 
and  tans,  yellows  and  greens. 

"  Nowadays  to  be  perfectly  groomed  is 
all-important,"  says  Mrs.  Iselin.  "Fas- 
tidious women  follow  a  daily  regime. 

"Pond's  complete  Method  makes  this 
daily  treatment  simple  and  practical. 

"The  Cold  Cream  has  always  been  my 
standby.  Now  the  new  Tissues  are  ex- 
quisite for  removing  cold  cream.  The 
delicious  Freshener  keeps  your  skin  firm 
and  young.  The  Vanishing  Cream  is  a 
delightful  powder  base." 

Mrs.  Iselin's  dressing  Inble  with  special  green 
l^lass  gift  jars  made  by  Pond's  to  hold  the  Two 
Creams  and  Freshener  Jor  her  daily  rlgime. 

In  the  familiar  containers— Pond's  four  Jamous 
products,  Txi-o  Creams.  Tissues,  Freshener,  -.ihich 
beautiful  women  use  daily  to  keep  their  skin  lovely. 
you  write  to  advertisers  please  mention  PHOTOPLAY  M.VGAZI.NE. 

Thousands  of  chic  and  beautiful  women 
follow  Pond's  Method  thus: 

AMPLY  APPLY  the  light,  pure  Cold 
L  Cream  over  face  and  neck, morning, 
night  and  always  after  exposure.  Use  firm, 
upward  strokes,  letting  the  penetrating 
oils  sink  deep  into  the  pores. 

Wipe  away  the  cream  with  the  Cleans- 
ing Tissues — ample,  soft,  absorbent. 

For  a  bracing  effect — the  tonic  Fresh- 
ener closes  the  pores,  tones,  invigorates. 

Finish  with  a  whisk  of  Vanishing 
Cream  to  make  your  powder  cling. 

Try  Pond's  Method  for  a  week! 

Scitd  10^ /or  PoiiD'j  A  Pfepafalioiij 

1*ond's  Extract  Company,  Dept.  P 
114  Hudson  Street,  New  York,  N.  Y. 

Name . — — 


Citv State- 

(Copjgqght,  1929,  Pond's  Extract  Company) 

The  Shadow  Stage 



nPEN  years  after  the  holocaust,  the  Germans 
•'-  rush  in  with  their  film  version  of  the  Great 
War.  Excellent  war-time  shots  of  rulers  and 
battles  are  offset  by  a  lot  of  studio  stuff  that 
doesn't  mean  much,  and  the  narrative  is  slowed 
by  scores  of  very  clever  but  over-used  maps  of 
the  fronts. 


""PHIS  is  a  story  of  self-sacrifice  and  regenera- 
■*■  tion.  Robert  Z.  Leonard's  direction  tops 
each  tear  with  a  chuckle.  Norma  Shearer 
plays  Dolly,  a  golddigger  with  an  angel  face  and 
a  steady  nerve,  who  plays  hide-and-seek  with 
the  law.  Shadowed  by  detectives,  she  marries 
a  trusting  country  boy,  beheving  him  a  million- 
aire. The  drama  which  ensues  is  fresh  and 
original.  John  Mack  Brown  is  effectively 
natural  and  Lowell  Sherman  is  at  his  best. 

UNEASY  MONEY— Fox-Europa 

npHE  newest  novelty  from  Germany  takes  a 
•*■  10-mark  bank  note  on  its  travels  through 
thi.';  vale  of  jeers.  It  begins  in  the  pay  envelope 
of  our  own  blonde  Wary  Nolan,  and  travels 
from  the  castle  to  tlie  gutter  and  back  again. 
We  leave  the  10  marks  long  enough  to  follow 
Mary  through  a  virginal  love  affair,  the  maul- 
ing hands  of  perspiring  papas,  and  to  happiness 
at  last.  Mary's  work  is  better  than  anything 
she  has  done  in  Hollywood.  This  is  at  least  a 
different  picture,  well  directed  and  acted. 
Take  a  look  if  it  comes  to  your  Little  Theatre. 


■XyTENJOU  fans  can  cheer  over  this  one. 
•'■ '-"-Adolphe  is  a  sophisticated  and  charming 
Marquis  deluged  with  debts.  His  tastes  in 
Uquor  and  women  are  discriminating.  There 
are  two  women — an  American  heiress  and  her 
companion.  Does  he  marry  the  heiress?  And 
how!  Then  he  presents  his  debts  to  her  father, 
his  title  to  the  heiress  and  his  love  to  her  com- 
panion. He  gets  a  job  and  a  divorce  and  mar- 
ries the  companion.    Frothy,  amusing. 


National-Big  Three  Production 

'  I  'HIS  is  a  German-made  film  with  nothing  to 
-'-  merit  its  importation.  The  story  is  tedious 
and  disjointed  but,  in  the  confusion  of  detail, 
we  gather  that  the  dancer,  Mula  Hari,  was  an 
international  spy  who  mi.xed  her  politics  and 
men  so  unwisely  as  to  have  her  lover  thrown 
in  prison  and  herself  executed. 


TpHERE'S  nothing  Western  about  this  one 
■*•  but  the  title.  And  perhaps  Tom  Tyler's 
pants.  That's  grand!  The  less  Western  a 
Western  is,  the  better  we  like  it.  In  a  worthy 
effort  to  be  original,  the  writer  threw  in  two 
mystery  men,  a  small  boy,  a  flock  of  Russians, 
and  an  idiot.    A  badly  bent  story. 

First  National 

"Y^OU  won't  get  very  excited  over  this  so- 
-'■  called  mystery  story  because  you  feel  down 
underneath  that  it  will  turn  out  to  be  a  dream. 
The  denouement  is  not  quite  as  bad  as  that — 
but  almost.  There  are  gorillas  and  dwarfs  and 
weird  characters  who  strut  through  the  pic- 
ture ineffectually.  Thelma  Todd  manages  to 
look  both  beautiful  and  frightened  while 
Creighton  Hale  makes  his  knees  stutter.  It's 
a  hodge  podge. 


BLACK  BIRDS  OF  FIJI— Australasian     THE  HOUSE  OF  SHAME— Chesterfield 

A  NOTHER  South  Sea  Island  picture  made 
■''•in  the  land  of  missionaries,  head  hunters 
and  half-castes.  Edith  Roberts  is  again  the 
island  girl  but  this  time  she  wins  her  man  when 
it  is  discovered  that  she  isn't  a  halt-breed  after 
all.    Edmund  Burns  persists  in  being  the  hero. 


"KJOT  good,  not  bad;  the  most  interesting 
•'-^  feature  being  its  array  of  foreign  faces, 
which  includes  Lia  Tora,  a  Brazilian  dancer; 
Paul  \'incenti,  a  Hungarian,  and  Ivan  Lebe- 
deff,  a  Russian.     The  captivating  Lia's  hus- 

International  Newsreel 

Camilla  Horn's  new  head-dress — 
three  crullers,  rampant,  over  the 
ear.  The  top  of  the  hair  is  worn 
slick  and  smooth  and  the  effect  is 
that  of  the  "buns"  of  hair  worn 
by  little  girls  ages  and  ages  ago 

band  wrote  the  script  but  he  didn't  do  right  by 
the  "little  woman,"  for  it's  a  trite  tale.  A 
coiffure  model  becomes  a  lure  in  a  gambling 
house  all  for  love  of  an  invalid  father. 

WHAT  A  NIGHT— Paramount 

A  NOTHER  newspaper  story,  much  more 
-*»-gaggy  than  the  others  have  been.  Bebe 
Daniels  plays  the  role  of  a  dumb  cub  reporter 
who  succeeds,  of  course,  in  getting  the  big 
scoop.  This  is  poor  material,  badly  strung 
together.  Bebe  Daniels,  herself,  seemed  to 
feel  the  inferiority  of  the  script. 


•T^HE  title  pleasantly  suggests  sophisticated 
■*■  French  farce  but,  despite  an  intriguing 
opening,  this  picture  turns  out  to  be  neither 
sophisticated  nor  farcical.  Eve  Southern's 
lumbering  efforts  to  be  naughty  offer  an  unin- 
tentional contrast  to  the  polished  smoothness 
of  H.  B.  Warner's  interpretation  of  a  chiv- 
alrous duke  who  lends  the  lady  his  illustrious 
name  for  a  few  hours.  Gertrude  Astor,  as  his 
jilted  fiancee,  is  more  effective  in  two  scenes 
than  Southern  in  five  reels. 

A  "FOUR-SQUARE"  marriage  muddle, 
-*  »■  done  with  surprising  cleverness.  An  un- 
usually modern  finish  gives  a  happy  jolt  to 
what  could  easily  ha\-e  been  just  a  snivelling  tale 
of  a  too-devoted  wife  who  made  the  supreme 
sacrifice  to  save  her  embezzling  husband  from 
jail.  Virginia  Brown  Faire  has  her  most 
effective  role  in  ages,  and  Lloyd  Whitlock  is 
wholly  pleasing  as  the  "hero  of  the  piece." 


A  FTER  you  sit  through  five  reels  of  old- 
-'  Mashioned,  maudhn  melodrama  of  a  soul 
struggle  (assuming,  of  course,  that  you  are 
curious  about  the  wages  of  conscience),  all  that 
rewards  your  vigil  are  a  few  Biblical  quotations 
and  a  misspent  e\'ening.  Talk  about  con- 
science! If  the  perpetrators  of  this  mistake- 
about-town  don't  have  a  good,  rousing  attack 
of  conscience,  then — there  ain't  no  justice. 


TF  you  don't  walk  out  on  the  sermon-length 
-'■opening  title,  you  can  probably  stand  the 
rest  of  it.  It's  hot  propaganda  against  the 
narcotic  evil,  authentic  to  the  point  of  gro- 
tesqueness,  and  a  scientific  treatise  for  lecture 
rooms,  not  amusement  houses.  A  dumb 
country  boy  goes  the  dope  route  with  a  flapper 
"snowbird"  in  the  city.  Not  the  least  bit 

LINDA— Mrs.  Wallace  Reid  Production 

npHIS  story  of  a  mountain  gal  who  marries 
•'•a  man  old  enough  to  be  her  "pappy"  is 
unadulterated  hokum.  Don't  waste  your  time 
on  it  unless  you  like  maudlin  sentimentality. 
Even  such  old  favorites  as  Noah  Beery,  War- 
ner Baxter,  Kate  Price  and  Mitchell  Le^ds 
can't  put  it  over. 

THE  SILENT  SENTINEL— Chesterfield 

npHIS,  boys  and  girls,  is  a  crook  picture! 
-'■  And  the  producers  have  overworked  the 
theory  that  no  modern  movie  is  complete 
without  a  crook.  This  dry  bank  robbery  melo- 
drama is  full  of  crooks.  We  Hke  our  crooks 
either  lusty  knock-down  drag-out,  like  Mr. 
Bancroft,  or  "suave"  underworld  sophisticates 
like,  for  instance,  Bill  Powell.  But  if  you 
don't,  that's  your  business. 


A  GORGEOUS  dog  picture  which  does  not 
once  tax  the  credulity  of  the  audience. 
It's  full  of  thrilling,  logical  action  based  on  a 
.  natural  story.  Two  rival  sheepmen  discover 
that  their  flocks  are  slowly  being  slaughtered. 
The  region's  finest  sheep  dog  is  suspected,  but 
finally  proves  his  innocence  by  leading  the 
herders  to  the  real  killer.  It  is  a  perfect  vehicle 
for  His  Prussian  Highness,  Ranger,  who  is 
probably  the  screen's  most  intelligent  German 

THE  LAST  WARNING— Universal 

THIS  could  have  been  a  gorgeous  mystery 
story,  but  it's  an  ob\aous  cross  between 
"  The  Phantom  of  theOpera  "  and  "  TheTerror, " 
with  none  of  their  consistency  or  power.  It 
has  a  distinguished  cast,  with  massive  sets  and 
effective,  futuristic  photography,  but  there's 
no  story.  The  title  writer  has  to  explain  a 
thousand  irrelevancies  in  the  last  reel.  Laura 
La  Plante,  however,  handles  the  heavy  dramat- 
ic role  amazingly  well,  even  with  no  script  to 
guide  her. 

[  CONTINUED  ON  PAGE   103  ] 

Photoplay  Magazine — Advertising  Section 



N  "Chicago"  or  Hollywood,  radiant 
Phyllis  Haver  finds  a  source  of  sparkling  eyes 
and  boundless  buoyancy  in 


Both  in  chic  and  jn  comfort  the  Arch  Pre- 
server Shoe  answers  every  exacting  require- 
ment of  Miss  Haver  and  her  sister  motion 
picture  stars. 

Its  spirited  styles  for  every  occasion  forecast 
the  authentic  Paris  and  New  York  modes. 

Its  patented  hidden  comfort  features  —  the 
arch  bridge,  the  flat  inner  sole,  the  metatarsal 
support  —  not  only  free  the  foot  from  strain 
and  discomfort,  but  give  it  that  gay,  tireless 
youth  that  is  reflected  in  every  motion  of  the 
body,  every  expression  of  the  face. 

Even  the  method  of  fitting  the  Arch  Preserver 
Shoe  is  different.  Its  exclusive  heel-to-ball 
system  of  measuring  provides  the  custom- 
tailored  appearance  that  is  so  essential  to 
Miss  Haver  and  every  well-dressed  woman. 

i8o  Seventh  Street,  Portsmouth,  O. 


There  is  only  one  Arch  Prc- 
Eer\-er  Shoe.  Its  principles  of 
construction  are  fully  protected 
by  patents.  No  shoe  is  an  Arch 
Preserver  Shoe  unless  stamped 
with  this  trade-mark.  Made  for 
women  and  misses  by  The 
Selby  Shoe  Company.  Ports- 
mouth, Ohio.  For  men  and  boys 
by  E.  T.   Wright  &   Co..  Inc..   Rockland,  Mass. 


HC  roOT  WELf 

aPP«»'  PatW    P"^'  and 


^Mail  r. 

this  coupon  or  write  to  The  Selby  Shoe  Company, 
180  Seventh  St..  Portsmouth,  Ohio,  for  new  Free 
Booklet   P-KO.  .S'.v/*"  and  Comfort  in  Every  Slep,  dealer's  name,  and 
pictures  of  the  latest  New  York  and  Paris  shoe  styles. 





When  you  vnlte  to  advertisers  please  mention  PHOTOPLAT  MAQAZINXL 

The  Studio  Murder  Mystery 


may  be  occupied  with  false  trails!  And  now 
for  the  happenings  in  the  coroner's  room  this 
morning!  Picture  two  young  people — one  a 
beautiful  French  girl,  the  other  a  handsome 
American  lad — each  sitting  in  opposite  sides  of 
the  room.  Dark,  tragic  eyes  meeting  dark 
tragic  eyes  .  .  .  pale  lips  murmuring  sound- 
lessly to  pale  lips  across  the  space.  ..." 

WILLIAM  WEST  and  Yvonne  Beaumont. 
West  under  guard.  Beaumont  accom- 
panied by  her  lawyer. 

The  coroner  was  completing  his  questioning, 
having  taken  the  testimony  of  MacDougal, 
Lannigan,  and  Jimmy  Cairns,  the  office  boy. 
He  had  come  to  the  confession  of  William  West. 
The  lovely  actress  leaned  forward,  her  great 
eyes  dilating  .  .  .  for  .  .  .  what  was  being 
said?  That  the  blood  on  the  stage,  flowing 
from  Hardell's  heart,  and  the  blood  found  on 
the  bottom  of  West's  shoe,  which  he  admits 
havang  worn  the  night  before,  when  he  went  to 
the  lot  to  get  his  script  book  .  .  .  were  the 
same!  A  sob  came  from  the  lovely  throat  of 
Miss  Beaumont,  and  her  little  white  hands 
fluttered  to  her  heart.  Then,  when  it  seemed 
she  would  swoon,  she  had  suddenly  risen  from 
her  seat,  and  her  light  clear  voice  broke 
through  the  stillness. 

"Ladies  .  .  .  gentlemen  .  .  .  will  you  hear 
me?  I  have  .  .  .  sometheeng  to  tell  you! 
Sometheengyou  will  not,  at  first,  believe.  .  .  . 
But  I  will  make  you  see  it!  First,  I  tell  you 
that  I  have  had  ze  .  .  .  what  you  call  .  .  . 
affair,  wiz  Mr.  Hardell!"  At  this  point  the 
beautiful  girl  raised  her  head  and  looked 
bravely  at  her  audience.  "I  will  tell  you,  also, 
it  was  only  what  you  call  ze  .  .  .  flirt  .  .  . 
wiz  me.  Me,  I  did  not  loff  heem  .  .  .  nonl  I 
am  .  .  .  French  ...  I  am  .  .  .  ze  flirt,  oiii! 
I  play  wiz  heem.  For  why?  Because  when 
first  I  come  to  this  contrai  .  .  .  two  years  ago 
...  I  learn  zat  he  eez  one  veree  bad  man !  .  .  . 
He  break  all  the  hearts  of  ze  pretty  ladies !  Me, 
Yvonne,  I  say  to  myself,  'I  will  do  zat  same  to 
heem,  zat  will  be  fun!'  But  I  do  not  know 
how  weecked  he  is!  Pretty  soon  I  am  afraid! 
He  follow  me!    He  make  me  scare!    He  come 

to  my  apartment  in  ze  night,  and  I  will  not 
open  ze  door,  and  he  stand  outside  and  say 
terrible  sings  to  me!  Zen  .  .  ."  she  clasped 
her  hands,  and  her  eyes  went  to  William  West 
across  the  room  .  .  .  her  lovely  little  face 
flushed  and  softened.  .  .  .  "Zen,  I  find  I  am 
...  in  loff!  For  ze  first  time  in  my  Hfe,  I  am 
in  loff!  I  tremble  wiz  fright  that  my  Billee  find 
out  about  what  you  call  'affair'  wiz  Hardell!" 
Everyone  in  the  room  turned  to  look  at  William 
West,  who  sat  clenching  his  hands,  and  looking 
with  all  the  pleading  of  his  heart  at  the  brave 
girl  who  was  giving  her  secret  to  the  world! 

"Zen  Hardell,  he  say  he  has  kept  some  silly 
letters  I  have  written  heem.  He  say  he  will 
show  them  to  Billee!  I  am  .  .  .  wild!  I  cry, 
I  beg,  I  get  mad!  He  only  laugh!  I  have  tell 
Billee  I  have  nevair  before  loffed  a  man!  He 
have  believe  me!  You  comprehend,  good 
people,  what  I  feel?  Zen,  that  night  I  go  out  to 
the  studio  to  get  ze  letters.  Hardell  say  he 
carry  them  always  wiz  heem!  I  write  ze  note, 
and  go  down  to  pin  it  to  his  dressing  table,  zen 
to  steal  my  letters,  and  to  go  away!  But  I 
cannot  find  zem !  Zay  are  not  zere!  I  wait  for 
ze  lights  to  go  out  on  ze  stage,  and  for  him  to 
come  back  to  change  his  clothes.  But  ...  he 
does  not  come!  I  wait  and  wait!  Tomorrow 
he  say  he  will  show  ze  letters  to  Billee!  Zen,  I 
go  to  the  stage.  I  am  afraid  for  Mr.  Seibert  to 
see  me.  He  is  veree  cross  to  be  disturbed.  I 
hide  in  ze  bushes  until  zay  go  away!  And  .  .  . 
D wight  Hardell  does  not  go  to  his  room !  Non  I 
He  goes  away  wiz  Mr.  Seibert.  I  know,  be- 
cause I  hear  heem  talking  together!  I  am 
afraid  to  look,  but  I  hear.  .  .  .  Zen  I  am 
afraid  to  leave,  because  I  see  Billee  coming! 
He  goes  on  the  stage,  and  pretty  soon  he  comes 
out  and  goes  away.  Zen  .  .  .  what  do  you 
sink?  I  see  that  Hardell  coming  back.  What 
for?  Me,  I  do  not  know!  I  only  see  heem 
coming  back!  I  get  up  and  go  quietly  .  .  . 
quietly  .  .  .  after  heem!  I  find  heem  on  the 
set,  practicing  to  fall  .  .  .  but  I  weel  explain! 
When  we  take  ze  dissoh'e  from  ze  dummy  to  ze 
same  place  .  .  .  comprehend?  Mr.  Hardell 
had  to  fall,  when  he  is  killed  by  ze  duel,  inside 
some  lines  made  wiz  chalk,  where  afterwards. 

zay  will  put  ze  dummy!  Ze  day  before  he  was 
— before  I  .  .  .  before  he  was  found  murdered, 
Mr.  Seibert  take  many,  many  times  zat  scene, 
but  it  does  not  suit  heem !  So,  zay  come  back 
zat  night  to  rehearse!  Zay  will  take  it  over 
again  ze  next  day!  Hardell,  he  tell  me  he  come 
back  to  practice  zat  fall  by  heemself.  I  find 
heem  doing  it.  I  say,  'I  have  come  for  my 
letters!'  He  laugh!  I  tell  heem,  over  and 
over,  how  much  I  loff  Billee!  He  laugh!  And 
zen  .  .  ."  for  a  moment  her  eyes  dropped,  and 
she  put  both  white  hands  to  her  cheeks  .  .  . 
"zen  ...  he  forget  heemself!  He  make  .  .  . 
ze  bad  love  to  me!  I  .  .  .  run  .  .  .  but  he  is 
too  strong!  He  catch  me!  I  fight!  I  bite!  I 
keeck!  He  tell  me  he  ...  he  tell  me  zat  to- 
morrow I  will  be  glad  to  say  I  marry  heem!" 
Once  again  the  brave  little  head  was  flung  up, 
and  the  great  dark  eyes  swept  the  room.  There 
were  murmurs  of  sympathy,  and  low-voiced 
e.xpressions  from  the  men  in  the  audience. 

"Ah  .  .  .  good  people  ...  it  ees  zen  that 
Yvonne  .  .  .  becomes  .  .  .  a  murderess!" 
She  swayed.  Her  lawyer  put  out  a  hand  to 
steady  her.  Her  voice,  coming  through  sobs, 
cut  into  the  hearts  of  her  listeners.  .  .  . 

I  MANAGE  to  get  away  for  ze  instant.  I  find 
ze  other  sword !  I  .  .  .  prepare  to  defend  my- 
self. ...  I  tell  heem  I  will  keel  heem  .  .  . 
but  he  laugh!  He  theenks  I  cannot  do  eet  .  .  . 
but  .  .  .  see  ..."  and  she  held  out  her  small 
white  wrist  ...  "I  have  learned  to  fence  in 
Paris.  Feel  .  .  .  M'sieur  .  .  ."  and  she  bent 
to  the  man  nearest  her.  "Is  my  wrist  not 
strong?  Otii!  You  comprehend?  Ah  .  .  . 
always  I  have  been  so  proud  of  ze  fencing!  But 
...  no  more  .  .  .  you  comprehend,  good 
people?  I  .  .  .  keel  him!"  She  slipped  un- 
conscious into  the  arms  of  her  lawyer. 

On  the  heels  of  this  breath-taking  confession, 
when  people  were  still  wiping  their  eyes,  and 
solicitous  hands  were  tending  the  lo\'ely  form 
.  .  .  when  analytical  minds  were  expressing 
the  opinion  that  Hardell  must  have  subcon- 
sciously assumed  the  death  position  he  had 
been  practicing  for  so  long  .  .  .  when  others 

[  CONTINUED  ON  PAGE   122  ] 

Rules  for  Studio  Murder  Mystery  Solutions 

1.  Nineteen  prizes,  totalling  $3,000,  are  offered  for  They  must  be  typewritten  on  one  side  of  a  sheet  of  paper 
the  best  solutions  to  the  thrilling  serial,  "The  Studio  and  contestant's  name  and  address  must  be  typed  on 
Murder  Mystery. "  This  story  will  appear  in  Photoplay  the  upper  left  hand  corner. 

in  eight  installments.  The  first  installment  appeared  in  the  4    -^he  nineteen  prizes  will  be  awarded  as  follows: 

October,  1928,  issue  and  the  concluding  mstailment  wul  First  Prize  $1  000 

appear  in  the  May,  1929,  issue,     .\fter  the  appearance  Second  Prize  ..............  /^    500 

of  the  March,  1929,  number,  on  February  15th,  1929,  Third  prize  ^ ^y. ............ .      350 

solutions  to  the  mystery  may  be  submitted  but   not  Fourth  prize. ................      150 

before  that  date.      All  solutions  must  be  received  by  Five  prizes  of  $100.  .!.'.!... .      500 

Photoplay  before  midnight  of  March  10th,  1929,  to  re-  -pgjj  prizes  of  $50                      ; .      500 

ceive  consideration.  The  final  installments  of  "The  Studio 

Murder  Mystery,"  printed  in  the  April,  1929,  and  May,  In   the  event   that  two  or  more  contestants   tie  for 

1929,   issues,   will  solve  the  mystery.     The  full  list  of  any  award,  duplicate  prizes  will  go  to  each  contestant. 

winners  will  be  announced  as  soon  after  the  close  of  the  5     \\\  solutions   must   be    addressed   to   The    Studio 

contest  as  possible.  Murder  Mystery  Editor,   Photoplay,  221   West  57th 

2.  .Awards  will  be  made  according  to  the  accuracy  of  Street,  New  York,  N.  Y. 

contestants  in  foretelling  the  real  solution  to  "The  Studio  g    jsj^  solutions  will  be  returned  to  contestants.     No 

Murder  Mystery"   as  worked  out  by  the  authors,  the  inquiries  regarding  this  contest  will  be  answered.    Failure 

Edingtons.    Literary  merit  will  not  count.    The  awards  ^Q  f^ij^n  g^^g^y  rule  will  invalidate  vour  solution.     The 

will  be  made  wholly  upon  the  detective  ability  of  con-  contest  is  open  to  evervone  e.xxept  emplovees  of  Photo- 

testants  in  working  out  the  mystery,  explaining  how  the  p^^Y  and  members  of  their  families.     It  is  not  necessary 

crime  was  committed,  giving  the  reasons  and  naming  ^^  [^g  ^j  subscriber  or  even  a  purchaser  of  a  single  copy 

the  real  murderer.  of    Photoplay.      You    can    consult    copies    in    public 

3.  Solutions  must  be  written  in  200    words   or   less,  libraries,  it  you  wish. 


There s  more  toWtsking  the  Face 
than  maivy  women  think 

Unless  you  actually  cleanse  the  skin 
of  powder,  rouge,  dirt  and  impuri- 
ties, your  complexion  will  suffer 
seriously.  Olive  oil,  as  you  use  it  in 
this  facial  soap,  is  the  ideal  means 
of  removing    dirt    and  make-up. 

THE  next  time  you  wash  your  face,  con- 
sider these  facts;  all  day  long  dust  and 
dirt,  oil  secretions,  and  dead  skin  gather  in 
the  fine  pores  that  make  up  your  surface 
complexion.  If  you  add  cream,  powder, 
rouge  — and  only  half  remove  them  by  in- 
correct cleansing  methods  — the  result  is 
blackheads,  pimples,  oiliness,  sallowness  — 
dozens  of  defects  that  may  entirely  be 
avoided  if  you  know  how  to  wash  your  face. 

The  value  ofoltre  oil  in  soap 

How  to  wash  your  face!  That  sounds  so 
simple.  Yet  it  can  be  an  art.  It  can  make  or 
mar  your  beauty.  That  is  why  doctors  and 
beauty  specialists  advise  a  soap  blended  of 
olive  oil— blandest,  gentlest,  yet  most  pen- 
etrating of  all  emollients. 

You  use  it  twice  a  day,  in  the  treatments 
described  below,  and  this  is  what  happens: 
the  olive  oil  works  into  your  pores  and 
gently,  easily  frees  them  of  tiny,  hard  masses 
which  otherwise  become  blackheads  and 
pimples.  It  keeps  the  skin  firm,  stimulated, 
healthy  with  color.  It  leaves  a  satiny  glow, 
an  enviable  smoothness  of  texture  that  typi- 
fies youth. 

You,  yourself,  may  be  abusing  a  naturally 
beautiful  complexion  by  the  wrong  cleans- 
ing methods.  Just  as  a  test,  use  these  simple 
treatments  beginning  tonight,  and  watch  the 
way  your  skin  responds  within  a  short  time. 
There  is  no  doubt  that  your  own  loveliness 
will  surprise  you. 




At  night: 

Make  a  rich  lather  of  PalmoHve 
Soap  and  warm  water.  With  both 
hands,  apply  it  to  face  and  throat, 
massaging  gently  with  an  upward 
and  outward  motion,  to  stimulate 
circulation.  Rinse  thoroughly  with 
warm  water  graduated  to  cold  un- 
til you  actually  feel  all  impurities, 
oil  secretions  and  make-up  carried 
away.  Then  dry  the  skin  by  pat- 
ting ir  tenderly  with  a  soft  towel. 



PALMOLIVE  RADIO  HOUR -Broadcast  every  Wednesday  night- 
time; 8:30  to  9:30  p  m.,  central  time  — over  WEAF  and  32 
The  National  Broadcasting  Company 

In  the  morning: 

Repeat  this  treatment  and  add  a 
touch  of  finishing  cream  before 
putting  on  rouge  and  powder. 
That's  all!  A  simple  treatment,  but 
it  must  be  observed  twice  every 
day  to  keep  the  skin  lovely  and 
youthful.  At  10c  Palmolive  is  the 
world's  least  expensive  beauty  for- 
mula. It  costs  so  little,  millions  use 
it  for  the  bath  as  well.  Colgate- 
Palmolive-Peet  Co.,  Chicago,  111. 

from  9:30  to  10:30  p  m.,  eastern 
stations  associated  with 


enyon  s  cot 

DORIS  Kenyon  knows  how  well 
color  expresses  personality. 
So  she  chose  Lady  Pepperell 
sheets  of  peach,  as  a  perfect  color- 
keynote  for  her  personality  bed- 
room— they're  an  enchanting  back- 
ground for  her  honeybrown  hair 
and  soft  gray  eyes. 

Pepperell  Manufacturing  Company 
l6o  State  St.,  Boston,  Mass. 
Plcaae  send  me  the  new  booklet,  "Personality 
Bedrooms."    1    am   enclosing  one   dime  —  ten 
cents'  worth  of  stamps  (Canada:  twenty  cents). 

MatTK* , 

Town  and   State 







Radio  talks  on  Bedroom  Decoration  .  . .  National  Home  Hour  every 
Wednesday  loa.m. . .  Eastern  Standard  Time . . .  WEAF  network. 

You  can  make  your  bedroom  ex- 
press your  personality,  easily  and 
inexpensively,  by  using  Lady  Pep- 
perell sheets  of  the  becoming  color 
that  best  expresses  you — precisely 
as  you  express  yourself  in  choosing 
becoming  clothes. 

In  her  own  laboratories,  Lady 
Pepperell  scientifically  dyes  into 
her  famous  firmly-woven  white 
sheets  lasting  shades  of  Nile,  Maize, 
Blue,  Rose,  Shell  Pink,  Orchid  and 
Peach— all  soft,  and  all  "tub-proof." 

Send  IOC  for  the  fascinating  new 
booklet,  "Personality  Bedrooms." 
It  suggests  dozens  of  workable  plans 
for  bedroom  decoration,  and  shows 
what  colors  are  most  becoming  to 
your  type. 

What  Are  Your  Correct  Colors? 


White  and  light  colors  reflect  light,  there- 
fore they  do  not  lessen  the  personal  col- 
oring of  the  wearer.  Dead  white,  howe\er, 
is  trying  because  it  makes  the  skin  seem  yellow 
by  contrast.  Pale  warm  tones — those  tints 
known  as  off-white — reflect  their  warmth  in  the 
face.  Soft  rose  color  gives  a  soft  glow  to  the  face. 

M.\>ry  women  must  combat  the  handicap  of 
a  yellow  skin.  These  women  should  studi- 
ously avoid  harsh  blues,  particularly  if  their  skin 
is  dark.  Brilliant  blues  throw  their  comple- 
mentary color,  yellow,  into  surrounding  sur- 
faces. So,  if  you  must  wear  the  gayer  blues, 
keep  them  away  from  your  face.  Break  the 
coloring  with  a  coUar  or  scarf  of  a  light  soft 
color,  a  string  of  pearls  or  other  white  beads, 
a  fur  of  dark  or  neutral  color. 

While  vivid  yellow  increases  the  color  tones 
in  the  skin  by  reflection, 
orange  and  red-orange  tend 
to  lighten  the  skin  and  are 
particularly  suitable  to  the 
woman  whose  skin  is  dark 
rather  than  actually  j'ellow. 
Yellow-green  and  green  and 
blue-greens  also  can  be  safely 
recommended  to  the  woman 
who  has  what  is  generally 
called  a  "muddy"  com- 

I  haven't  spoken  as  yet  of 
the  colors  that  should  har- 
monize with  the  hair  and 
eyes,  although  most  women 
usually  dress  for  these  fea- 
tures. In  my  opinion,  the 
pigmentation  of  the  skin 
should  be  the  first  consider- 
ation. However,  the  women 
with  e.xceptionall)'  beautiful 
hair  or  unusually  lovely  eyes 
should  make  the  most  of 
these  good  points.  The 
majority  of  women  howe\'er 
will  find  it  best  to  consider 
the  skin  first. 

Now  for  a  careful  study 
of  your  hair.  Hair  is  usually 
called  blonde,  red,  brown  or 
black.  But  upon  close  in- 
spection, you  will  find  these 
classifications  inaccurate. 

BLONDE  hair  is  usually 
yellow,  sometimes  defi- 
nitely yellow-orange,  some- 
times a  duller,  grayer  tone, 
and  sometimes  even  assum- 
ing a  yellow-green  cast. 

So-called  red-haired 
women  do  not  have  hair 
that  is  actually  red,  but 
really  red-orange. 

Brown-haired  persons 
also  have  red-orange  hair, 
but  so  neutralized  and  sub- 
dued, that  it  appears  brown. 

And  black-haired  people 
are  not  really  black-haired 
at  all.  It  is  red-orange,  so 
dark  that  it  is  called  black. 
But,  in  a  strong  light,  you 
will  see  copper  shades  even 
in  the  darkest  hair.  Some- 
times seemingly  black  hair 
will  be  actually  blue-black, 
having  a  cool  rather  than  a 
warm  coloring. 

The  color  of  the  hair  may 
be  made  to  appear  brighter 
if  colors  opposite  or  com- 
plementary are  worn.  Blonde 
hair  will  become  more  golden 

in  contrast  to  blues  in  the  costume.  Hair  with 
orange  hues  will  be  more  brilliant  when  cool 
colors — greens,  blue  violets,  blues  or  blue- 
greens — are  used. 

Bright  colors,  similar  to  those  in  the  hair, 
make  it  seem  faded  and  dull  by  contrast. 
Bright  orange  wiU  make  blond  hair  seem  pale 
and  lifeless.  Brown  hair  loses  character  when 
darker,  more  reddish  browns  are  worn.  Kven 
bright  so-called  red  hair  may  appear  faded  in 
contrast  to  vivid  warm  colors,  although  it 
usually  clashes  and  takes  on  a  cheap,  artificial 

Select  colors  which  are  duller  and  less  warm 
than  the  tints  in  your  hair. 

Persons  with  warm,  rich  brown  hair  may 
bring  out  the  golden-red  tints  by  wearing 
lighter,  duller  browns.  If  the  hair  is  dull  or 
rather   grayed   in   coloring,   neutral   colors   or 





HERE  are  tour  types 
screen  beauties  that  repre- 
sent  the  four  types  of 
feminine  coloring.  Raquel 
Torres,  brunette;  Esther  Ral- 
ston, blonde;  Janet  Gaynor, 
brown  hair;  Joan  Crawford, 
auburn.  Every  woman  is  a 
variation  of  one  of  these  color- 
ings. By  finding  the  colors  that 
best  suit  your  type  and  by 
choosing  a  harmonious  back- 
ground for  yourself  in  your 
clothes  and  in  your  home, 
you  will  establish  a  happier 
emotional  environment  as 
well  as  making  the  most  of 
your  appearance. 

Do  you  kno\v  that  your  hair 
becomes  brighter  if  contrasted 
with  an  opposite  or  comple- 
mentary color?  Do  you  know 
that  the  correct  shade  of  green 
will  improve  a  yellow  com- 
plexion? Do  you  know  that 
small  areas  of  vivid  coloring — 
in  jewelry,  ornamients  or  trim- 
ming— vastly  increase  the  col- 
or and  depth  of  your  eyes? 

Every  month  PHOTOPLAY 
receives  thousands  of  letters 
asking  "What  is  my  most  be- 
coming color?"  These  articles 
and  color  charts  are  the  answer 
to  the  earnest  inquiries  of 
women  who  want  to  look  their 
best  in  their  clothes  and  who 
want  to  bring  harmony  and 
charm  to  their  personal  sur- 

colors  similar  to  the  hair  should  be  avoided. 
Light  yellow  or  light  brown  hair  appears  to 
poor  advantage  when  placed  near  a  tan  that 
closely  matches  it. 

The  eyes  should  usually  be  the  last  point 
considered,  for  the  skin  and  hair  arc  much  more 
important  in  the  larger  view  one  person  re- 
ceives when  looking  at  another. 

"p  YES  of  the  so-called  blondes  are  usually  cool 
■'—'in  color,  violet,  blue,  blue-green,  green  or 
gray,  while  those  of  the  brunette  are  most  fre- 
quently, warm,  brown  (dark  red-orange).  Hazel 
eyes,  predominantly  warm,  seem  to  combine 
flecks  of  both  warm  and  cool  colors,  apparently 
changing  color  according  to  the  colors  worn 
near  them. 

The  liquid  depths  of  the  eye  act  as  a  mirror 
which  catches  and  reflects  light.  The  color  of 
the  eyes  therefore  may  be 
greatly  intensified  if  a  color 
similar  to  them  is  worn  near 
the  face.  Gray  eyes  may 
become  blue,  green  or  violet 
according  to  the  colors  sur- 
rounding them.  Brown  eyes 
may  appear  dark,  even 
black,  when  dark  colors  arc 
^vorn;  golden  when  yellow 
and  orange  tones  are  near 

Small  areas  of  vivid  color 
effectively  deepen  the  color 
of  the  eyes  but  large  areas  of 
color  should  be  softer,  other- 
\vi5e  the  eyes  will  appear 
dull  and  faded  by  contrast. 
Complementary  colors  may 
also  increase  the  color  of  the 
eyes.  Yellow,  orange,  red- 
orange  and  red  may  increase 
the  color  of  cool  hued  eyes 
while  cool  colors  tend  to 
emphasize  the  warmth  of 
brown  eyes. 

These  in  general  are  the 
rules  for  color  harmony. 
Now  I  shall  go  into  detail 
about  the  colors  for  bru- 


TTI lERE  are  brunettes  and 
-'■  brunettes,  almost  as 
many  variations  as  there  are 
individuals.  Some  possess 
%ivid  brilliant  warm  color- 
ing; some  subdued  warmth, 
a  more  olive  skin;  others 
have  the  characteristic  dark 
hair  but  a  fair  skin  with  de- 
cidedly cool  feeling.  The 
actual  hue  of  the  flesh  tints 
in  the  first  two  types  are 
wariu,  red-orange,  while 
that  of  the  last  is  red-violet. 
The  first  two  ha\e  warm,  if 
dark  and  subdued  red- 
orange  tints  in  their  hair, 
the  last  has  blue-black  hair. 
Therefore,  be  not  content 
to  call  yourself  a  brunette, 
analyze  your  coloring!  De- 
termine whether  you  are  a 
dark  warm  type  or  a  dark 
cool  t)pe.  If  your  skin  is 
warm,  is  it  vividly ,  x'ibrantly 
glowing  with  color,  or  docs 
it  possess  a  more  subtle,  sub- 
<iued  olive  tone?  Having 
determined  what  your  type 
is,  study  the  color  require- 
ments for  that  tjpe,  mean- 
while   analyzing    yourself, 

[  CONTINUED  ON  P.^CE   106  | 


Gossip  of  All  the  Studios 


DON'T  try  to  steal  scenes  from  Billy 
The  other  day  on  the  set,  Eddie  Nugent 
quite  out-mugged  Billy.  When  they  moved 
into  a  close-up,  Billy  stood  on  the  younger 
actor's  foot.  The  pained  expression  had  no 
part  in  the  action  required. 

pLENN  TRYON  and  a  friend 
^^-'were  returning  from  Tia  Juana 
and  were  forced  to  go  through  the 
usual  procedure  of  walking  the 
chalk  line. 

The  inspection  officer  looked  at 
Glenn  who  made  a  brave  effort  to 
walk  a  straight  line. 

"You  can't  walk  very  well,  can 
you?"  said  the  inspection  officer. 

"No,"  said  Glenn,  "that's  why 
I  brought  my  car." 

^^-'poor  little  rich  boy  who  lost  his  bankroll 
trying  to  be  a  journalist,  is  out  in  Hollywood 
and  says  he's  going  to  write  stories  for  the 

Cheer  up,  this  hardy  industry  has  weath- 
ered worse  blows  than  that. 

A  L  JOLSON  has  been  frantically  search- 
■'••ing  for  a  story  to  live  up  to  the  standard 
set  by  "The  Jazz  Singer"  and  "The  Singing 

Recently  he  took  his  bride  and  went  to 
Lake  Arrowhead  to  think!  It  appears  that 
he  got  a  thought  and  he  was  so  overjoyed 
that  he  could  not  resist  the  temptation  of 
telling  it  to  whatever  audience  presented 
itself.  The  audience  was  Joe  Schenck.  He 
outlined  a  perfect  story  and  did  not  realize 
until  after  he  had  completed  it,  that  he  had 
told  a  grand  yarn  to  a  rival  producer. 

P.  &A. 

Aeroplane  view  of  the  Mecca  of  all  California  tourists,  "Pickfair," 
the  estate  of  Mary  Pickford  and  Douglas  Fairbanks.  The  swim- 
ming pool  is  in  the  foreground.  This  picture  was  taken  on  a 
day  when  there  were  no  crowned  heads  playing  croquet  on  the 

front  lawn 

Just  a  shack,  but  it's  home  to  Charlie  Chaplin.    Chaplin's  estate  in  Beverly 

Hills  adjoins  "Pickfair."    The  oddly  shaped  stretch  of  lawn  is  a  miniature  golf 

course  which  leads  down  to  the  inevitable  swimming  pool  and  bath-house. 

Hey,  Charlie!    Two  fellows  are  walking  on  your  grass! 

ON  "Four  Feathers"  set 
the  other  day  Dick  Arlen 
was  called  upon  to  make  what 
is  technically  known  as  "hot 
love"  to  Fay  Wray.  It  was  a 
tough  spot  for  Dick,  con- 
sidering the  fact  that  Fay's 
husband,  John  Monk  Saun- 
ders, was  standing  by. 

When  the  scene  was  over 
John  said  to  Dick,  "Never 
mind,  I'll  get  even  with  you. 
I'm  writing  the  talking  se- 
quences for  your  ne.xt  picture 
and  all  you'll  say  is  '  Unhuh' 
and'Nunhuh.'  " 

THERE  was  a  time — way 
back  B.  T.  (before  talk- 
ies)— when  you'd  walk  on  a 
set  and  discover  Wally  Beery 
in  his  chair  snoring  melodi- 
ously. An  actress  would  be 
reading  the  latest  thriller  and 
the  extra  people  w'ould  be 
playing  cut-throat  bridge. 

!\'ow  all  is  changed.  The 
day  of  hard  work  is  at  hand. 
The  speakies  have  introduced 
a  ghastly  activity.  Scenes 
are  made  one  right  after 
another.  I  saw  a  whole  short 
subject  taken  in  two  hours 
and  a  half  at  Warners'  the 
other  day.  The  actors  pace 
up  and  down  repeating  their 
lines,  vaudevillians  bestir 
themselves  at  unearthly 
hours    and    directors    walk 

[     CONTINUED   ON   PAGE   86    ] 

Photoplay  Magazine — Advertising  Section  83 

andyotillneverniiss  sweets 
that  make  you  £a€ 


Instead  of  eating  between  meals . . . 
instead  of  fattening  sweets... beau- 
tiful women  keep  youthful  slender- 
ness  thesedays  by  smoking  Luckies. 
The  smartest  and  loveliest  women 
of  the  modern  stage  take  thismeans 
of  keeping  slender . . .  when  others 
nibble  fattening  sweets,  they  light 
a  Lucky! 

Lucky  Strike  is  a  delightful  blend 
of  the  world's  finest  tobaccos.These 
tobaccos  are  toasted — a  costly  extra 
process  which  develops  and  im- 
proves the  flavor.That's  why  Luckies 
are  a  delightful  alternative  for  fat- 
tening sweets.  That's  why  there's 
real  health  in  Lucky  Strike.  That's 
why  folks  say:  "It's  good  to  smoke 

For  years  this  has  been  no  secret 
to  those  men  who  keep  fit  and  trim. 
They  know  that  Luckies  do  not  cut 
their  wind  nor  harm  their  physical 
condition.  They  know  that  Lucky 
Strike  is  the  favorite  cigarette  of 
many  prominent  athletes.who  must 
keep  in  good  shape.  They  respect 
the  opinions  of  20,679  physicians 
who  maintain  that  Luckies  are  less 
irritating  to  the  throat  than  other 

A  reasonable  proportion  of  sugar  in 
the  diet  is  recommended,  but  the 
authorities  are  overwhelming  that 
too  many  fattening  sweets  are 
harmful  and  that  too  many  such  are 
eaten  by  the  American  people.  So, 
for  moderation's  sake  we  say: — 


Constance  Talmadge^ 

Charming  Mottoa 
Picture  Stat 



It's  toasted 

No  Throat  Irritation -No  Cough. 

)  1929,  The  American  Tobacco  Co.,  Manufacturers 

Constance  Talmadge, 

ReacFi  jov  a 

Lucky  instead 

of  a  sweet. 

When  you  Hrito  lo  aJuTtUers  iiloasc  nirntlou  pnoTOPLAT  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 

Joan  Crawford,  fascinat- 
ing Metro -Goldwyn- Mayer 
star,  finds  Lux  Toilet  Soap 
delightful  both  in  this  lovely 
bathroom  and  in  her  special 
dressing  room  on  location. 

7  HAVE  tried  innumerable 
French  soaps,  but  never 
have  I  found  anything  like 
Lux  Toilet  Soap  for  keeping 
'studio  skin  is  the  all- im- 
portant asset  for  the  star  who 
must  face  into  the  glaring 
lights  of  the  close-up." 

When  a  close-up  is  being  taken,  Joan 
Crawford  meets  the  brilliancy  of  the 
newincandescent  "sun-spot  "llghtswith 
perfect  self-confidence  —  because  her 
skin  is  k^pt  beautifully  smooth  with 
Lux  Toilet  Soap. 

"Without  smooth  skin  no  girl 

can  be  lovely^ ' '  say 
39  leading  Hollywood  Directors 

VELVETY  SKIN  is  the  most  precious  charm 
a  girl  can  have.  All  Hollywood  agrees  on  this. 
"People  open  their  hearts  instantly  to  the  love- 
liness of  exquisite  skin.  Every  star  knows  how 
essential  beautiful  smooth  skin  is,"  says  Edward 
Sedgwick,  Metro-Goldwyn-Mayer,  voicing  the 
opinion  of  leading  directors. 

Lux   To  i  1  e  t 

Every  advertisement  In  PHOTOPT-AT  MAGAZINE  Is  suaianteed. 

Photoplay  Magazine — Advektising  Section 


Lacing  the 

cnielest  test  a  skin  can  meet 

How  WELL  they  know  that  the 
skin  must  be  kept  rarely  smooth 
— the  lovely  girls  whose  beauty  stirs 
a  million  hearts  every  time  they  ap- 
pear on  the  screen! 

For  there  is  something  about  lovely 
skin  that  sends  a  ripple  of  emotion 
through  every  heart.  And  for  the 
screen  star,  skin  as  smooth  as  a 
flower-petal  is  a  prime  necessity. 

The  huge  new  incandescent  "sun- 
spot"  lights  pour  down  on  a  star's 

9  out  of  10 
screen  stars  use  Lux  Toilet  Soap 

face  and  shoulders  and  arms  when  a 
close-up  is  being  taken,  and  film 
more  highly  sensitized  than  ever 
would  inevitably  register  every  tini- 
est flaw  in  the  skin  texture. 

Consequently,  of  the  451  impor- 
tant actresses  in  Hollywood,  includ- 
ing all  stars,  442  depend  on  Lux 
Toilet  Soap  to  guard  their  skin.   The 

by  E.  Fryer.  Htjilywood 

Louise  Fazenda.  Warner  Brothers'  star,  in  the  Hollywood  bathroom 
which  sets  off  her  charm  so  well.  "  I  used  to  use  the  fine  French  soaps  but 
now  I  find  that  Lux  Toilet  Soap  gives  the  same  beautiful  smoothness  to 
my  skin.   I  am  devoted  to  it." 

next  time  you  see  your  favorite  screen 
star  in  a  close-up,  remember  that  9 
out  of  10  screen  stars  keep  their  skin 
captivatingly  smooth  with  this  de- 
lightful soap.  It  is  made  by  the 
famous  French  method. 

And  all  the  great  film  studios  have 
made  it  the  official  soap  for  all  dress- 
ing rooms. 

If  you  haven't  discovered  for  your- 
self how  wonderfully  smooth  this 
white,  daintily  fragrant  soap  keeps 
your  skm,  try  it  today.  Use  it  for  the 
bath  and  the  shampoo.  It  lathers 
so  generously,  even  in   hard   water! 

KvELVN  Brent,  popular  Paramount 
star,  says:  "A  star  must  have  a  smooth 
skin.  Lux  Toilet  Soap  is  so  very  pleas- 
ing and  soothing." 


Luxury  such  as  you  have  found  only  in  French  soaps 
at  SQ(  and  $\.00  the  cake— now 

When  you  write  to  advertisers  please  fuentlon  PHOTOPLAY  MAGAZINE. 


Gossip  of  All  the  Studios 


about  with  troubled  frowns  upon   their  ex- 
ecutive brows. 

The  industry  is  once  again  in  its  infancy. 
Nobody  knows  what  the  talkies  are  about. 
Hollywood  is  besieged  by  Broadway  smart 
boys,  who  are  writing  bright  dialogue. 

Now  Monta  Bell's  bright  girls  and  boys 
Are  making  Eastern  films  with  noise, 
And  Famous  Players  spreads  around 
"All  Pictures  with  Long  Island  Sound." 

THE  other  day  Tom  Moore  had  an  idle 
moment  between  scenes  of  "The  Yellow 
Back,"  when  a  very  enthusiastic  gentleman 
slapped  him  on  the  back  and  shouted,  "Well, 
weU,  well,  hello,  Matt,  old  feUow,  how  are  you? 
You're  looking  well.    Glad  to  see  you  again." 

"But  I'm  not  Matt,"  the  most  famous 
Moore  said,  "I'm  Tom." 

"Oh,  that's  all  right,"  the  gentleman  con- 
tinued, "don't  feel  badly,  old  fellow.  It's 
reaUy  quite  all  right.  One  Moore  is  just  as 
good  as  another.  How  are  you?  You're  look- 
ing well.    Glad  to  see  you." 

THE  ambulance  siren  shrilled 
down  HoUjrwood  Boulevard.  Vil- 
lagers ran  out  on  the  streets.  "Don't 
be  alarmed,"  said  Billy  Haines, 
"somebody  coughed  in  a  talkie 
scene  and  the  director  shot  him." 

"LJOLLYWOOD'S  latest  simile:  Like  the  hush 
-'•  -'-that  comes  just  before  a  talkie  scene  is 

STRANGE  as  it  may  seen,  Jimmy  Murray 
is  still  under  contract  to  M.-G.-M.  He 
has  been  a  bad  boy  again  even  after  his  recent 
promise  to  be  good,  so  in  order  to  chastise 
him,  the  studio  has  kept  him  under  contract 
at  a  very  small  salary.  If  he  were  released 
he  would  be  able  to  sign  for  much  more  money 
with  another  concern.  Now  rumor  has  it  that 
M.-G.-M.  will  send  him  to  Germany  to  make 
a  picture. 

•T^^O  of  the  most  eligible  young  women  in 
■'-  Hollywood  arri\'ed  at  the  opening  of 
"Noah's  Ark,"  quite  manless. 

Lily  Damita  and  Camilla  Horn  came 
together  and  found  the  stag  Une  more  than 

TACK  DEMPSEY  has  bought  a  string  of 
J  horses  that  he  intends  to  race  at  Tia  Juana 
this  season. 

Estelle  Taylor,  who  likes  three  regular  meals 
a  day  same  as  any  right  minded  gal,  is  none 
too  hot  about  Jack's  investment. 

IF  producers  were  wise  they  would  insist  that 
a  star's  boy  friend  always  be  allowed  on 
her  set. 

The  other  day  Joan  Crawford  couldn't  cry 
at  all  until  Doug  Jr.,  came  over  and  held  her 
hand  and  looked  sympathetic  or  something. 
That's  what  love  does. 

IT'S  an  old  Hollywood  custom  to 
go  anywhere  the  crowd  goes 
whether  you're  invited  or  not.  The 
other  day  a  well  known  actor  was  at- 
tending a  party. 

He  happened  to  be  standing  near 
Lewis  Stone.  "Well,  well,  it's  nice 
to  see  you.  Stone,"  said  the  actor. 
"Don't  see  you  much  around.  Didn't 
think  you  got  out  much  to  attend 

"I  don't,"  said  Lewis,  "it  happens 
that  this  is  my  house  and  I'm  giving 
this  party." 

'Y'OU  may  not  think  it  funny,  but  I  laughed 

-"-  as  if  my  little  heart  would  break  when  I 

learned  that  the  very  suave,  very  British  Mr. 

Clive  Brook  breakfasts  on  sauerkraut  juice. 

'pIVE  feet,  five  inches  seems  to  be  the 
-*-  popular  "stellar  heights"  for  film  stars.  At 
any  rate,  we  find  the  following  "cinema  celebs" 
in  that  class: 

Billie  Dove,  Corinne  Grifiith,  Dorothy  Mac- 
kaill,  Maria  Corda,  Thelma  Todd,  Mary 
Astor,   Madge      [  continued   on   page   96  ] 

"Ole  Man  River — he  don't  plant  'taters,  he  don't  plant  cotton,"  but  he  sure  do  make  a  swell 
background  for  a  movie.  King  Vidor,  knee-deep  in  the  yaller  water,  catches  a  beautiful  and 
sinister  view  of  the  Mississippi  for  a  scene  in  "Hallelujah."  This  is  the  picture  that  has  an 
all-colored  cast,  plus  sound  effects  of  darky  voices  singing  negro  spirituals.  All  of  which  should 
make  it  something  very  much  worth  seeing  and  hearing 


Photoplay  Magazine— Advertising  Section 


Sore  Throat 

breeds  in  crowded,  drafty  places 
Gargle  when  you  get  home 

Listerine  full  strength 

kills  even  typhoid  germs 
in  15  seconds 

A  S  soon  as  nasty  weather  sets    germs — and   sore   throat,   Hke   a 

If  a  tliroat  condition  does  not 
rapidly  yichl  to  this  treatment, 
consult  your  physician.  Lam- 
bert Pharmacai  Company,  St. 
Louis,  Mo.,  U.  S.  A. 

■L  »-  in,  thousands  are  down  with 
sore  throat,  colds,  grippe,  flu,  or 

Don't  be  one  of  them.  Gargle 
with  Listerine  full  strength  every 
day — especially  after  exposures 
to  rain,  severe  cold  and  coughing 

cold,  is  caused  by  germs. 

Repeated  tests  show  that  Lis- 
terine kills  even  the  stubborn 
B.  Typhosus  (typhoid)  and  M. 
Aureus  (pus)  germs  in  ISseconds. 

Realizing  Listerine's  power 
you  can  understand  its  efl"e<'live- 

crowds  in  public  places — buses,  ness   against   the   milder  winter 

street    cars    and    movies.       This  complaints     caused     by     germs, 

simple  act  may  spare  you  a  costly  Each    year    increasing    millions 

and  possibly   a   dangerous  siege  rely  on  it 

of  illness. 

Because    Listerine,    full 
strength,     is     powerful     against 

The  saje  antiseptic 

Keep  a  bottle  handy  and  at  the 
first  sign  of  trouble,  gargle  re- 
peatedly. Don't  hesitate  to  use 
it  full  strength.  It  is  entirely 
safe  in  any  body  cavity. 

When  you  write  to  advertisers  please  mention    PHOTOPLAY  MAO 

Fewer  colds 

— 1/  you  do  this 

Millions  of  rolds  stiirl  m  hen  »r«'riiis, 
transferred  from  the  luinds  to  food, 
i-nter  the  niontli.  Tlierefore.  Ix-fore 
f>very  meal,  rinse  y(»iir  liiiii<ls  Mitti  Lis- 
terine. Tliis  efTeetiially  destroys  dis- 
t'ase  fierrns.  Tfiis  simple  ai't  may  save 
you  a  nasty  sie;;e  witti  a  eold.  And  it  is 
espeeially  iinportant  for  mothers  to 
remember    » hen    preparing    children's 



Photoplay  Magazine — Advertising  Section 

Mild  enough  for  anybody 

Erery  advertisement  In  PHOTOPLAY  MAQAZIN'E  Is  guaranteed. 

Photoplay  Magazine — Advertising  Section 


What  a  cigarette 
meant  there 

It  took  a  lot  of 

courage,  for  he  was  no  "ladies'  mau," 
and  she  was  the  belle  of  the  town. 

That  awkward,  stammering  proposal... 
interrupted.. .Andnow...wouldshe  never 
come  back?  The  zero  hoxir,  for  a  fact . . . 
the  longest  minutes  of  a  lifetime. 

Like  most  men,  he  lived  through  it,  sus- 
tained by  that  little  friend  in  need . . .  his 
cigarette  ...  the  most  important  cigarette 
he  ever  smoked. 

What  a  cigarette 
means  here 

It  took  a  lot 

of  courage,  likewise,  to  propose  and  go 
through  with  the  idea  behind  Chesterfield. 
It  took  courage,  for  it  meant  less  profit 
per  package  than  is  made  on  any  other 
cigarette.  Into  Chesterfield  we  blended 
the  finest  qualities  of  tobacco  ever  offered 
at  popular  prices— tobacco  selected  re- 
gardless of  cost,  from  all  the  leaf  markets 

of  the  world.  „  ,  ,  .  ,        ■  • 

And  when  Chesterfield  jumped  to  big 
volume  and  continued  steadily  to  grow 
...  we  knew  that  this  cigarette  which  so 
surely  bespeaks  tobacco  quality  to  us  had 
come  equally  to  mean  it  to  you. 





Xanthi  and  Cavalla,  Smyrna 
and  Samsoun—from  here 
come  the  fragile  tender  Turkish 
tobaccos  for  Chesterfield's  /a- 
mous  blend. 

,  .  .  and  from  Virginia 
and  Carolina  come  the 
famous  "bright "  or"yeU 
tow"  tobaccos:  fromKert' 
tucky  the  rich  mellow 
Burtev  uhich  completes 
this  mild  yet  satisfy- 
ing blend. 

andj;et  THEY  SATISFY 

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Photoplay  Magazine — Advertising  Section 


a  Meeker  Made 

fine  leather  handbag 

THE  practical  gift  is  the  truly  appropriate 
gift  in  this  swift  moving  age,  for  it  takes 
stouter  fiber  than  "cobwebs  and  gos- 
samer" to  withstand  daily  wear  and  tear  in 
crowded  stores,  street  cars  and  automobiles. 
But  a  gift  that  is  beautiful  as  well  as  practical 
is  indeed  ideal. 

A  Meeker  Made  Art  Leather  Bag  is  the  per- 
fect answer  to  the  modern  Valentine  gift 
problem.  As  beautiful  as  it  is  practical,  it  also 
has  almost  unbelievable  wearing  qualities. 
These  bags — the  products  of  expert  crafts- 
manship— are  made  from  choicest  imported 
steerhide  leather,  tooled,  hand-colored  and 
hand-laced  in  the  shops  of  the  Meeker  Com- 
pany at  Joplin,  Missouri.  They  are  smart  in 
shape  and  design,  and  "right"  with  any  cos- 
tume because  of  their  neutral  tone  and  har- 
monious colorings. 

At  the  better  dealers  everywhere. 



handbags . . .  underarms 
.  .  .  vanities  .  .  .  billfolds 


Largest  manufactur-ers  of  Steerhide  Leather  Goods 
in  the  U.  S.  A. 

Not  Like  Dad 


more  the  Barrymore  than  the  Fairbanks  type. 
From  his  father  he  inherits  his  fine  mental 
qualities;  from  his  mother  the  sweetness  and 
gallantry  of  his  nature. 

His  personal  life  has  been  influenced  by  Joan 
Crawford,  whose  name  could  not  possibly  be 
kept  out  of  any  comment  on  young  Doug. 

Each  brings  gifts  to  the  other.  " 

Joan's  life  has  been  one  of  a  bitter  sort  of 

_  While  Doug  was  sleeping  on  park  benches 
just  to  see  what  it  was  like.  Joan  was  iinding 
any  shelter  that  might  harbor  her. 

On  her  part,  this  was  no  gesture— it  was  born 
of  necessity. 

Doug  is  constantly  on  the  set  with  Joan  when 
he  is  not  working  and  his  gaze  is  always  upon 

They  have  the  complete  absorption  of  very 
young,  very  intense  lovers.  They  speak  a 
language  of  their  own;  and  by  that  I  do  not 
mean  simply  the  language  of  eyes,  but  a  very 
definite  patois  that  they  have  concocted  for 
their  own  use.  It  serves  the  purpose  of  com- 
pletely e.xcluding  them  from  the  rest  of  the 

T^OUG  has  brought  to  Joan,  reckless,  waste- 
■'-'ful  Joan,  an  introduction  to  books  that  she 
did  not  know  had  been  written,  a  love  of 
music  where  only  a  jazz  band  was  her  sym- 
phony; and  he  has  shown  her  poetry. 

Doug  has  written  poems — he  may  this  year 
bring  out  a  book  of  them  illustrated  by  him- 
self—but the  best  of  all  are  those  copied  in  a 
firm,  girlish  hand  in  a  Uttle  maroon  colored 

leather  book,  kept  in  the  top  drawer  of  Joan's 

They  are  all  dedicated  to,  and  inspired  by 

She  has  brought  gifts  to  Doug.  She  has 
shown  him  the  reality  of  Ufe,  the  grim,  sordid 
misery  of  it.  Young  Doug,  never  having  had 
that  side  of  hfe,  has  known  only  the  misery  of 
the  mind. 

They  are  completely  different— Joan  and 
Doug— just  as  Doug,  Sr.,  and  Jr.,  are'different. 
The  lad  lives  in  the  spirit.  The  others  live  in 
the  world. 

LIKE  all  young  artists,  he  has  moods  of  self- 

"I  have  awful  faults,"  he  said.  "Look! 
Over  there  is  my  ambition  (pointing  to  Joan), 
but  who  am  I  to  have  such  a  one  as  she?  I  look 
at  myself  in  the  mirror  and  know  that  her  love 
for  me  can't  possibly  last. 

"I  adored  her  for  a  long  time  before  I  met 
her,  and  I  always  felt  sorry  for  her,  but  she 
seemed  so  aloof  and  far  away  from  me. 

"I  blame  myself  for  my  faults  and  weak- 

"Perhaps  that  will  teach  me  how  to  li\e 
and  how  to  hold  her.'' 

The  artist  is  invariably  concerned  with  the 
manner  of  living. 

The  man  of  action  is  concerned  with  the 
doing  of  it. 

The  two  tj^pes  can  never  touch. 

Doug,  Sr.,  may  give  his  son  a  friendly  pat 
and  call  him  a  good  kid,  but  he  will  never 
understand  him. 

Diet  for  Health  and  Beauty 


and  surgical  aid.  There  \\-ill  be  no  attempt 
made  to  elevate  the  orange,  the  prune,  the 
raisin  or  raw  rabbit  food  to  precedence  over 
what  experience  has  shown  to  be  of  value  in 
caring  for  the  sick  and  the  well. 

By  way  of  introduction,  we  shall  consider  the 
body  as  a  machine  for  the  sake  of  simpUcity. 
All  machines,  if  they  are  to  run  smoothly  and 
well,  need  fuel,  replacements  and  ^egu'lati^•e 

The  food  needs  of  the  body  will  be  discussed 
on  this  basis,  whether  it  be  in  reference  to 
increasing  or  decreasing  weight,  or  in  com- 
batting the  causes  and  effects  of  disease. 

'X'HE  weight  reduction  craze  has  become  a 
■'-  national  problem,  in  fact  a  menace.  It  was 
this  menace  which  awakened  Photoplay  to  the 
necessity  for  combatting  banting  by  those 
who  would  do  themselves  perhaps  life-long 
injury  for  lack  of  proper  super\ision  in  their 
struggle  to  starve  themsehe's  into  figures  like 
those  of  the  stars  of  the  silver  screen.  Tuber- 
culosis, anemia  and  ner\-ous  disorders  have 
been  counted  among  the  tolls  which  voluntary 
starvation  for  a  slender  figure  and  cinema  star- 
dom has  exacted. 

It  is  indeed  too  bad  that  angles  have  sup- 
planted curves  in  the  feminine  figure;  that 
emaciation  has  been  substituted  for  fascina- 
tion; that  shoulder  blades  like  wings  now  stand 
out  where  once  were  dimples  on  the  backs  of 

Since  Mother's  rations  have  become  as  short 
as  her  dress  one  cannot  be  blamed  for  greeting 

a  buxom,  well-nourished  American  girl  with  a 
Hip!  Hip!  Hurray!  for  one  gets  the  chance  so 

To  teach  Photoplay  readers  w-hat"to  eat  and 
why,  foods  will  first  be  discussed  on  the  basis  of 
the  body  needs  for  foods  rich  in  fuels,  replace- 
ment materials  and  regulative  substances. 
Then  wiU  follow  information  as  to  the  com- 
parative value  of  important  foods  and  food 

Next  will  come  diets  and  menus  for  gaining 
and  reducing  weight  as  fixed  by  the  best 

As  the  contemplated  series  gets  under  way 
the_  queries  of  readers  will  bring  up  many  inter- 
esting points  which  will  be  thoroughly  aired  in 
this  column  as  well  as  determining  the  trend 
of  subsequent  articles. 

The  vista  is  a  broad  one  and  no  effort  will  be 
spared  to  make  the  series  interesting,  enter- 
taining and  instructive. 

•X'HE  opening  gun  in  the  series  will  be  pub- 
■*■  lished  next  month  and  will  cover  the 
principles  of  nutrition,  as  it  is  not  much  use  to 
eat  from  the  standpoint  of  diet  unless  one 
knows  for  what  purpose  one  is  eating. 

Then  will  follow  much  of  interest  as  to 
calories,  carbohydrates,  fats,  proteins,  miner- 
als, cellulose,  vitamins,  phosphorus,  iron,  cal- 
cium and  other  elements  of  diet  which  are  still 
just  words  to  so  many. 

Photoplay  wishes  to  teach  its  readers  to 
eat,  to  think  of  what  they  eat  and  to  be  wary 
of  diets  which  will  hurt  their  health. 

There   will   be   another   article  on   diet   by   Dr.   Willis   in 
the    March    PHOTOPLAY 

Every  adverllsemenl   in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 

Photoplay  Magazine — Advertising  Section 

^^  Everything  must  Flatter  us 

^  to  our  Finger  Tips, 


Ethel  Barrymore 

The  appealing  charm  of  Ethel  Barrymore's  dramatic  hands  is  height- 
ened by  the  brilliance  of  the  new  Cutex  Liquid  Polish. 

"Never  fails  to  protect  my  nails,"  says 

Marie  Martin,  a  Winter  Sports  Favorite 

Miss  Marie  Martin,  a  New  York- 
debutante,  is  a  devoted  sports  woman 
who  regularly  has  her  winter  sports 
at  Lake  Placid. 

Miss  Martin  said,  "Of  course,  we 
wear  mittens  at  Placid,  but  the  snow 

soon  wets  through  and  the  nails  get 
simply  frightful,  all  stained  and 

"But  the  new  Cutex  Liquid  Polish 
never  fails  to  protect  my  nails.  A 
thorough  wash,  and  they  shine  forth 
just  as  if  I  had  had  a  brand  new 
manicure.   I  just  adore  it!" 

For  Weil-Groomed  Nails 

— do  these  three  simple  things 

People's  eyes  are  always  on  your  hands. 
This  is  the  way  to  keep  yours  pretty. 

First  —  the  Cuticle  Remover  to 
remove  dead  cuticle,  to  whiten  thenail 
tips,  soften  and  shape  the  cuticlebring- 
ing  out  the  beauty  of  the  half  moons. 

Second  —  the  Polish  Remover  to 
remove  the  old  polish,  followed  by 
flattering  Cutex  Liquid  Polish  that 
sparkles  undimmed  for  a  week. 

Third  —  apply  Cutex  Cuticle 
Cream  or  Cuticle  Oil  around  the 
cuticle  and  under  the  tip  to  keep  the 
cuticle  soft  .  .  .  Cutex  preparations 
35^  each.  Polish  and  Remover  to- 
gether 50(?. 

Northam  Warren,  New  York,  Lon- 
don, Paris. 

The  best  loved  actress  on  the 
American  stage  adds,  "and 
of  all  the  vs^ays  of  grooming 
the  finger  tips  I  find  the  new 
Cutex  Liquid  Polish  the 
most  flattering." 

ETHEL  BARRYMORE  now  crowns 
her  years  of  success  with  a  season 
of  repertory  in  the  new  Ethel  Barrymore 
Theatre,  West  47th  Street,  New  York, 
named  in  her  honor.  To  her  public,  this 
magnificent  actress's  appeal  lies  not  alone 
in  her  great  talent,  but  in  her  velvet  voice 
and  expressive  hands. 

"Today  'all  the  world's  a  stage,'" 
quoted  Ethel  Barrymore  gaily.  Nothing 
in  a  woman's  appearance  escapes  ob- 
servation. The  hands  particularly  must 

"They  must  be  sparkling,"  Miss  Barry- 
more declared.  "I  find  the  new  Cutex 
Liquid  Polish  keeps  my  finger  tips  radi- 
antly crisp — gives  them  just  the  nec- 
essary touch  of  flattering  sparkle ! 

"  I  take  along  the  Cutex  Manicure  Kit 
on  all  my  tours,"  she  added.  For  smooth 
cuticle  and  exquisitely  white  nail  tips 
demand  regular  care  with  Cutex  Cuticle 
Remover  and  Cream.  "Applied  now  and 
then,"  finished  Miss  Barrymore,  "they 
keep  my  shining  nails  ready  for  their  cue ! " 

The  new 

Cutex  Liquid 



your  nails 

Special  Introductory  Offer — 6^ 

I  enclose  6c  for  the  sample  of  the  new  Cutex 
Liquid  Polish  and  Polish  Remover.  (If  you  live  in 
Canada  address  Post  Office  Box  2054,  Montreal, 

Northam  Warren,  Dept.  9Q-2 
114  West  17th  Street,  New  York 

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Photoplay  Magazine— Advertising  Section 















d    * 







Girls'  Problems 



Lemon  rinse  is  splendid  for  the  hair,  be  it 
blonde  or  brunette. 

B.  P.: 

By  all  means  wear  high  heels,  especially  for 
dress.  They  are  much  prettier,  and  you  are 
not  in_  the  least  above  the  average  height. 
There  is  no  reason  why  you  should  not  wear 


Your  weight  is  just  right,  and  I  should  think 
that  you  would  be  lovely  with  your  hair  worn 
after  the  charming  manner  of  Greta  Garbo.  As 
for  colors,  try  orchid  and  pale  yellow  and  nile 
green  and,  of  course,  lipstick  red. 

M.  L.  P.: 

A  good  lemon  cream  will  be  far  better  for 
your  face  than  the  method  that  you  suggest, 
which  is  harsh  and  will  hurt  the  skin.  I  would 
suggest  that  you  use  powder  in  the  naturelle 
shade,  and  you  will  find  several  good  creams, 
especially  constructed  for  the  removing  of 
freckles,  advertised  in  Photoplay  Magazine. 
You  are  about  seven  pounds  under  weight. 

C.  L.: 

You  should  wear  V-shaped  neck  lines  that 
come  close  to  the  sides  of  the  throat  and  fairly 
low  in  front.  They  will  be  far  more  becoming 
to  you  than  the  round  or  bateau  neck  line. 

Brush  your  hair  regularly  and  it  will  shine 
with  health  rather  than  with  grease.  People  do 
not  brush  their  hair  enough.  Constant  brush- 
ing will  also  bring  out  the  reddish  tint. 

MiCKiE  N. : 

I  should  Hke  you  to  bring  this  item  to  the 
attention  of  your  mother,  for  I  think  she  is 
being  too  strict  with  you.  Her  anxiety  to  keep 
you  away  from  boj's  is  making  you  more 
an.xious  than  you  would  normally  be  to  know 
them.  Ask  your  mother  to  read  this,  and  per- 
haps write  to  me. 

Bernice  : 
Indeed  all  shades  of  brown  will  be  more  be- 

commg  to  you  than  blue  or  black.  And  don't 
neglect  beige  and  African  brown.  These  dull 
shades  will  bring  out  the  brightness  of  your 
eyes  and  hair.  And  always,  to  relieve  your 
brown  costumes,  have  a  touch  of  orange  or 
canary  yellow  or  amber. 

Mary  Anne: 

Why  don't  you  frankly  ask  the  young  man 
k)  tell  you  his  attitude  in  regard  to  yourself? 
The  old  phrase,  "cards  on  the  table,"  is  a  good 
one.  You  are  old  enough  and  have  known  him 
long  enough  to  ask  for  an  e,xplanation  of  his 
curious  conduct. 


Brush  your  hair  back  from  your  forehead, 
but  from  a  definite  part.  If  you  can  part  it  in 
the  middle  becomingly,  do  so.  Bring  the  ends 
of  your  hair  out  on  the  cheeks  in  long  points. 
That  will  make  your  face  seem  more  slender. 


1  think  that  your  stand  against  petting  is  a 
wise  and  sane  one.  Some  of  the  surface  pop- 
ularity may  not  be  yours,  but  surface  popular- 
ity is  a  passing  thing  and  you  will  come  into 
your  own  in  the  end.  The  worthwhile  boys  will 
be  the  ones  who  care  about  you.  Ideals  are 
more  important  than  flashy  popularity— re- 
member that  always. 

Constance  : 

There  is  no  reason  why  the  nationality  of 
your  friend  should  make  any  difference.  I 
have  known  many  charming  men  of  his 
nationality  who  have  been  accepted  in  the  best 

Bernice  C.  C: 

The  exotic  type  is  the  type  that  Greta  Garbo 
represents,  also  Aileen  Pringle  belongs  to  that 
type  and  so  does  Nita  Naldi,  and  Jetta  Goudal. 
As  you  can  see,  all  four  of  these  women  are 
totally  different  in  appearance,  but  they  are 
alike  in  having  an  intangible  and  alluring 
charm.  Being  exotic  is  more  a  question  of 
charm  and  personality  and  allure  than  of  any 
regular  style  of  beauty. 

"Night  stuff"  on  the  Metro-Goldwyn  lot.     Director  Alf  Goulding 

IS  shooting  a  red-hot  fire  scene  for  the  new  Karl  Dane-George  K 

Arthur  picture,  "All  at  Sea."    The  crane  is  probably  to  haul  Big 

Karl  out  of  the  flames 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 

Photoplay  Magazine — Advertising  Section 


Below  is  the  famous  [ 
Ingram  Mannequin.  Her 
image  shows  the  : 
spots  most  difficult 
care  for,  and  the  text  tells 
you  how  best  to  do  so!   \-' 


a  nca 


Ithy  skin 


THE  Skin  of  Youth  may  be  yours! 
A  clear  complexion  can  be  yours,  a 
soft,  smooth  wrinkleless  skin,  if  you 
will  follow  carefully,  word  for  word, 
the  directions  which  come  with  every 
jar  of  Ingram's  Milkweed  Cream! 

The  secret  is  in  the  "six  stars" — 
shown  in  the  mannequin  above,  and 
explained  point  by  point— in  this  text! 

For  the  slightest  lack  of  perfect 
smoothness— the  slightest  blemish  or 
wrinkle  is  evident  to  every  man  or 
woman  whom  you  meet  —  each  one 
speaks  volumes  about  your  age  and  the 
condition  of  your  skin. 

Ingram's  Milkweed  Cream  protects 
each  of  these  vital  points  and  not  only 

■^  Thread-like  lines  soon  turn  to  furrows 
if  the  skin  on  the  forehead  is  not  kept 
soft  and  supple. 

■^  Tiny  rays  or  puffiness  about  the  eyes 
should  be  watchfully  avoided  if  you 
are  to  look  young  and  fresh. 

>j'  The  curve  of  the  lips — the  expression  of 
your  face — may  so  easily  be  spoiled  by 
lines  at  the  corners  of  the  mouth. 

VV  Nothing  so  quickly  betrays  age  or 
neglect  as  a  wrinkled  neck.  Keep  the 
skin  here  soft,  the  contour  rounded. 

■^  Guard  against  a  "crepey"  throat  if  you 
would  keep  your  youth.  It  is  fright- 
fully ageing  and  unflattering. 

"^f  Many  women  never  feel  right  in  evening 
gowns  beca  use  their  shoulders  are  marred 
with  blemishes  and  coarseness. 

protects  but  ameliorates  their  health.  It 
is  even  slightly  therapeutic  in  its  effects 
—it  does  things  no  other  cream,  how- 
ever expensive,  can  possibly  do.  It 
tonics  your  skin— it  is  excellent  against 
roughness,  redness  and  blemishes.  It 
smooths  away  the  tiny  wrinkles.  It  is 
perfect  against  chapping  and  flaking. 

Ihere  is  room  for  Ingram's  on  your 
dressing  table.  For  Ingram's  is  a  basic 
cream,  excellent  as  a  cleanser,  but  with 
the  added  virtues  of  demonstrable 
benefits  to  the  skins  of  all  women  who 
use  it.  Use  one  jar  of  Ingram's — and 
you  will  find  your  skin  growing  softer, 
more  lovely— with  every  passing  day. 

I N  G  ram's  y\.LlAit^etd  Qjream 

©  p.  F.  I.  Co..  1929 

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Photoplay  Magazine — Advertising  Section 

Jong  Hair' 

Is  cxmurxcj  bcick 


Internationally    Famous     Hatr^ 
dreascr,  whose  clientele  includes 
tvotnen  of  smart  society, 
discusses  the  current 
trend  in  hair  combings 

IISTORY     will 
1  repeat  itself," 
declares   Pierre... 
"Longer    gowns,    lar- 
ger hats  are  already  be- 
ing worn  and — naturally — 
longer   hair  is   coming   into 
vogue."  Whether  you  agree  with 
Pierre  or  prefer  the  still  popular 
bobbed  type  of  hairdressing,  your 
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to  depend  on  careful  hair  combing. 
For  every  type,  long  or  short, 
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you  to  always  look  your  best.  We 
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carry  with  you  wherever  you  go. 


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Brickbats  and  Bouquets 


What  Every  Woman  Knows 

Oakland,  Calif. 
A  motion  picture  of  modern  life  is  the  only 
fashion  book  I  ha\e  used  for  a  long  time.  A 
girl  gets  so  many  ideas  for  new  dresses  after 
seeing  one  of  the  current  movies  that,  if  she 
is  at  all  competent,  she  may  make  similar 
dresses  for  herself.  The  artists  creating  these 
fashions  gi\'e  to  us  the  work  of  long  tedious 
Iiours  for  the  price  of  an  admission  ticket  to  a 

Nadeline  L.  Perry. 

Hey,  Miss  Davies! 

Wahoo,  Neb. 
I  salaam  to  IMarion  Davies.  I  saw  her  in 
"The  Patsy."  She's  a  Pickford,  a  Bow,  a  Tal- 
madge  all  in  one.  A  knockout !  Her  imperson- 
ations of  INIae  Murray,  Lillian  Gish  and  Pola 
Negri  were  perfect.    Three  cheers  for  Marion! 


Cut  the  Bunk 

Kingsport,  Tenn. 

Will  you  permit  me  a  word  relatix'e  to  the 
wild  extravagance  and  distorted  superlati\'es 
employed  in  mo\'ie  advertising?  "A  la\'ish 
spectacle  of  beauty  and  thrills."  "  Stupendous 
production!"  "The  greatest  heart  drama  of 
all  times." 

My  emphasis  is  not  the  vulgarity  of  this 
buncombe,  but  its  inefFectuality.  Would  it 
not  be  good  business  judgment  to  give  people 
a  clue  to  the  character  of  the  picture,  instead  of 
bombarding  them  with  meaningless  catch- 

Paul  N.  Olive. 

Paris  Comes  Second 

Farmington,  Wash. 
On  the  screen  today,  we  have  the  best 
dressed  men  and  women  in  the  world.  Even 
Paris  admits  that  really  tine  dressing  is  seen 
on  the  American  shadow  stage;  that  it  is  not 
only  seen,  but  consistently  appears  in  pictures. 
It  is  not  only  the  so-called  society  picture,  with 

the  gorgeously  gowned  women,  but  pictures 
that  deal  with  every  walk  of  life  reveal  those 
correct  lines  and  general  effects  of  tasteful 
dressing  that  we  all  seek.  The  principle  of 
clothes  adapted  to  personality  is  certainly  well 
employed  in  screen  plays. 

RoMAiNi:  Nicholson. 

Home-made  Movies 

Atlanta,  Ga. 

Brickbats  are  easy  things  to  throw  and  of  all 
the  people  who  throw  them,  how  many  would 
know  how  e\-en  to  try  to  act  before  a  camera? 

My  husband  bought  an  Amateur  Movie 
Camera.  This  delighted  me  because  I  knew 
it  would  be  my  chance  to  see  myself  as  others 
see  me.  I  am  not  camera  shy  and  fully 
believed  that  the  first  hundred  feet  of  fihn  my 
husband  made  of  me  would  be  good.  But 
a  big  disappointment  awaited  me.  Turning 
my  face  from  side  to  side  seemed  to  be  the  only 
action  in  the  whole  film. 

]\Iy  smiles  seemed  artificial.  Everything 
I   did   was  awkward. 

Even  now,  after  making  about  1,500  feet 
of  lilm,  the  results  are  far  from  perfect. 

There  was  a  time  when  I  would  go  to  the 
movies  and  be  terribly  critical  but  now,  after 
my  own  experiences,  I  make  allowances  for  the 
poorest  kind  of  acting. 

Mrs.  Tom  Standring. 

Why  the  Party  Succeeded 

Atlantic  City,  N,  J. 

I  recently  gave  a  large  party  and  it  went 
over,  thanks  to  Photoplay.  It  happened 
that  the  party,  being  a  large  one,  would 
have  been  a  flop  as  I  did  not  know  what 
to  serve. 

A  friend  suggested  the  "Favorite  Recipes 
of  the  Stars."  I  immediately  sent  for  a  copy 
of  Photoplay  Cook  Book  and  I  assure  you 
I  could  have  selected  no  end  of  appetizing 
dishes.  All  the  guests  marvelled  at  the 
dainty  dishes  and,  of  course,  inquired  where 
I  got  them. 

Barbara  Hoblman. 


Dick  Barthelmess  is  only  a  number  now.    Here  is  a  Bertillon  photo- 
graph of  him  for  his  new  First  National  picture,  "Weary  River." 
But  when  did  the  muggers  at  Police  headquarters  begin  furnishing 
bear  grease  and  make-up  to  their  subjects? 

Every  adverllsemeni   In  PnOTOPI.AT  MAQAZINE  Is  BUlranteed. 

Photoplay  Magazine — Advertising  Section 

I  i? 

Many  good    things   have  heen 
added  to  yonr  screen  entertain- 
■  ment  hy  the  talking  fihn.  Tliis  mar- 
vel of  modern  scientific  achieve- 
ment has  added  new  punch  to 
many  dramas;  thrills  and  chills 
to  the  spectacles  and  the  mystery 
plays.  flBut,  NOW,  best  of  all,  the 
comedies  talk!  f|For  Educa- 
tional Pictures,  always  the  out- 
standing leaders  where  Short 
Features  are  concerned, 
bring  to  you  through  the 
best  theatres  every- 

where, a  new  laugh  treat. ..short 
comedies  with  talking,  music 
and  all  natural  sound  effects, 
from  start  to  finish.  HI  If  you  have 
not  seen  and  heard  one  of  the